storytelling

Chutzpah! back on the stage

Ophira Eisenberg (photo by Mike Katzif)

Live performances – that you can see in person – are, thankfully, a thing again. At least, for now. And this year’s Chutzpah! Festival, Nov. 4-24, features many shows that people will be able to attend, most of which will also be streamed digitally.

For the two artists the Jewish Independent interviewed this week about the festival, the upcoming performances hold special meaning.

“I am so looking forward to coming back to Canada,” said New York-based comedian and storyteller Ophira Eisenberg, who was born in Calgary. “And Vancouver at that! Where it all started.” Eisenberg performs Nov. 7 at the Rothstein Theatre.

Shay Kuebler/Radical System Art’s Momentum of Isolation sees its world première at the theatre Nov. 13 and 14. The dance company returns to Chutzpah! as resident artists. The Rothstein Theatre and Chutzpah! “have been critical to the growth of Radical System Art and my work as an individual artist,” Kuebler told the Independent, describing the theatre as “the cradle that supported us” during “our infancy as an organization.”

“When I stepped back into the theatre,” Kuebler said, “it was like being back in a close friend’s home. It feels right. There’s a groove and comfort there. This has enabled us to create with as much momentum as possible, both as a company and collective of artists.”

Stepping back into a theatre has been an emotional experience for many artists.

“This spring in New York, I performed numerous times outside,” said Eisenberg. “All of the situations were a little different and, a couple of times, the address of the show was a large tree in a park! It wasn’t ideal and definitely was challenging, but people really wanted to laugh and take in some live entertainment, so it was uplifting.

“My first real performance inside at a comedy club was in early May, when New York opened small performance venues,” she said. “The audience was distanced and masked, and I think they laughed louder and harder than an audience of 3,000 – or maybe my ears weren’t used to hearing live indoor laughter and it sounded explosive. Either way, it almost brought me to tears, and I know I’m not the only one that felt that way.”

Eisenberg comes to Vancouver soon after the final episode of National Public Radio’s comedy trivia show Ask Me Another, which she hosted for nine years, interviewing and joking with numerous famous folk, including Sir Patrick Stewart, Awkwafina, Ethan Hawke and Julia Stiles, among many others.

“After interviewing hundreds of celebrities, authors, musicians,” said Eisenberg, “one thing that stands out to me is that, whenever we talked about a project that meant a lot to an artist, they mentioned that what made that project so successful was the supportive environment – and the fact that they worked with people who allowed experimentation and even failure. That ended up bringing out their best work. I think about that a lot when it comes to creating a space for artists to truly succeed.”

Eisenberg has headlined and performed at countless festivals and appeared on numerous comedy networks and programs. She has her own comedy special, called Inside Joke, and her first book, Screw Everyone: Sleeping My Way to Monogamy (Seal Press), was optioned for a feature film. She is a regular host and storyteller with the Moth, an organization that has become a radio show and podcast, in addition to putting on live events and other activities.

As for what she would still like to accomplish in her career, Eisenberg said, “I’m working on another podcast that I hope is also long-running! But I have so many things I’d like to do. Maybe too many things! On the docket are writing another book, and I’d love to write for TV. Performing live is my first love, so I’m looking forward to a safer world where that can happen more often.”

Eisenberg’s journey to success began at a young age.

“I truly believe I was drawn to New York as a child from watching Sesame Street!,” she said. “I went to McGill for university, where I got a bachelor’s in anthropology and theatre, then moved to Vancouver for a couple of years, where I tried standup for the first time.

“I was honestly too scared to move to New York,” she admitted, “so I moved to Toronto and spent five years performing and starting to understand my craft. Then, one day, I thought, ‘I need to move to New York now while I can still happily live with a futon and milk crate furniture.’ Two years after moving here, I discovered the Moth…. I love writing jokes, but I was working on other material that just did not fit into the standup mold. I found an outlet of expression at the Moth and in this short form storytelling, and I continue to pursue both.”

When asked to describe her connection to Judaism and/or Jewish community or culture, Eisenberg said, “I have a joke in my act that goes something like this: ‘I was raised Jewish in Calgary, Alberta, or so I thought because when I moved to New York I wondered, “maybe I was raised Protestant?” Everyone in New York is more Jewish than I am. My Puerto Rican neighbour knows more about Judaism than I do.’

“That is just a joke but living in New York is definitely the first time I felt surrounded by pervasive cultural Judaism. My father was the principal of the Hebrew school in Calgary but left that job the year I was born, so I went to public school. We still practised at home and went to synagogue during the High Holidays. As an adult, I’ve definitely been able to find my community here in Brooklyn, which is very wonderful and embracing.”

Exploring isolation

In 2018, before the pandemic sent us all into relative isolation, the United Kingdom appointed its – and, apparently, the world’s – first minister of loneliness, to address the problem as a public health issue.

“Right away, the title of ‘minister of loneliness’ grabbed me,” Shay Kuebler told the Independent. “There’s something very simple about it and it almost feels like a caricature, yet, when you think of someone whose entire work/career is to disrupt loneliness, it becomes deeply serious. When you read about isolation and loneliness, the gravity of this position becomes even more clear.”

The United Kingdom’s action was a catalyst for Kuebler, who noted, “You can now find multiple countries that have ministers of loneliness.”

The work Momentum of Isolation “speaks to a number of ideas around isolation and loneliness,” he said. “By doing so, I hope to open up greater conversations around the topic and maybe have audiences start their own exploration of the topic.”

photo - Sarah Hutton performs in Shay Kuebler/ Radical System Art’s Momentum of Isolation — Sarah Hutton performs in Shay Kuebler/ Radical System Art’s Momentum of Isolation. *(screenshot)*

Momentum of Isolation explores the theme both through physical isolation and social isolation, explained Kuebler. “These two points are explored through a number of different scenes, which make the show episodic in its structure, with some through-lines and arcs for characters moving all the way through.”

The work has turned out to be even more relevant than Kuebler initially thought it.

“Honestly, this show took on an evolution that I could have never projected,” he said. “The timing of our first full-company research period coincided with the closures and lockdowns across 2020. I knew that this project was important, and being forced into an online/isolated form of research was profound, to say the least.

“This isolated online research, which enabled one-on-one time with each of the company artists, created a well of material,” he said. “It was a format that was completely new, but something I found extremely valuable. While working with each artist one on one, I was simultaneously writing and composing music for the work. This not only led to a lot of new scenes and ideas, but it also distilled what was most relevant and necessary to say.

“For me, this piece was both a rediscovery and a reinforcement of what I hold most valuable. It has brought me back to how and why I want to create. I am grateful for this.”

For those unfamiliar with Radical System Art and dance in general, Kuebler added, “I know when we hear ‘dance’ and, especially, ‘contemporary dance,’ a lot of people can feel hesitant. I want readers and audiences to see this show as more of a ‘contemporary theatre experience.’ It brings together technology, design and multiple art forms around a very relevant – and timely – theme. It is something being made now, through many different artists and their many unique experiences…. With a collaborative approach to connecting with our audiences, we hope to create something new, relevant and accessible.”

For Chutzpah! tickets and the full lineup, visit chutzpahfestival.com or call 604-257-5145.

Chutzpah! coming soon

Josh “Socalled” Dolgin leads an evening of Yiddish songs as part of Chutzpah! 2021. (photo from Chutzpah!)

The Chutzpah! Festival returns this November, presenting music, theatre, comedy and dance that reflect the joy of coming back together. For more than two decades, Chutzpah! has been an annual highlight of Greater Vancouver’s arts season. From Nov. 4 to 24, artists will once again grace the stage of the Norman & Annette Rothstein Theatre, the festival’s hub, and share their work in person and online. Tickets go on sale Sept. 15.

The 21st Annual Chutzpah! Festival will include a variety of performances, paired with conversations and opportunities to interact with the artists. Audiences will have the chance to attend in-person shows, with COVID safety protocols in place, or enjoy digital streams from their homes. With an emphasis on artists from across Canada, the festival will also present work from Israel, the United States and the United Kingdom.

“Artists and arts enthusiasts alike have been eagerly awaiting our chance to come back together to share our stories,” said Jessica Mann Gutteridge, artistic managing director. “With the joy of reconnecting comes the knowledge that our lives have profoundly changed over the past year-and-a-half. The Chutzpah! Festival will explore and celebrate the many ways we tell stories now, with a variety of ways to experience and participate in the work.”

The festival opens Nov. 4 with a screening at the Rothstein Theatre of the Marx brothers classic A Night at the Opera, during which City Opera Vancouver will sing the operatic music parodied in the film. The 1930s cinema experience will include festive treats, glamour and a costume contest.

In the comedy realm – all in-person performances at the Rothstein Theatre – Canadian-born, New York-based stand-up comedian, storyteller and writer Ophira Eisenberg, host of NPR’s comedy and trivia show Ask Me Another, performs Nov. 10. Israeli-American stand-up comedian Avi Liberman is joined by special guest Jacob Samuel and host Kyle Berger on Nov. 20. And Iris Bahr, who impressed Chutzpah! audiences in 2020 with her festival hosting and her solo show DAI (enough), performs her new solo show Nov. 23.

The dance performances at the Rothstein will be in-person events, as well as digitally streamed. Nov. 6 and 7, a Project inTandem double-bill features the works of Calgary producers and choreographers Sylvie Moquin and Meghann Michalsky, which explore the themes of female struggle and empowerment. Nov. 13 and 14, Shay Kuebler/Radical System Art return to Chutzpah! as resident artists with the third “chapter” of Kuebler’s research that began in 2018, after he read about the United Kingdom hiring a minister of loneliness. On Nov. 16 and 18, Ballet BC artist in residence Alexis Fletcher, who was 2019 and 2021 Chutzpah! resident artist, returns to the festival with a solo integrating movement and the visual art of Vancouver painter and HIV/AIDS activist Tiko Kerr, while 2020 and 2021 Chutzpah! resident artist Ne.Sans Opera & Dance, led by Idan Cohen, returns to showcase a new solo drawing inspiration from the myth of Orpheus and Gluck’s opera Orfeo ed Euridice, with co-creator Ted Littlemore (aka Mila Dramatic).

Theatre works featured are Lilach Dekel-Avneri and the Pathos-Mathos Company’s The Eichmann Project – Terminal 1 on Nov. 8 (digital stream available); The Flame – An Evening of Storytelling on Nov. 17, under the stewardship of artistic director Deborah Williams, featuring storytellers including Stephen Aberle, Glenda Zenoff, Eleanor Lipov and Helen Schneiderman, with musical guest Anton Lipovetsky; and Halifax-based Surplus Production Unit’s A Timed Speed-Read of the Triangle Shirtwaist Factory Fire Trial Transcript on Nov. 21 and 22.

Montreal’s Josh “Socalled” Dolgin, accompanied by a local string quartet, leads an evening of rediscovered Yiddish songs, with stories and perhaps a little magic, on Nov. 19, and Israel’s Guy Mintus Trio’s performs A Gershwin Playground Nov. 24. (Digital streams available for both shows.)

Nov. 8-12, Chutzpah! Festival favourite, U.K.-based theatre artist Tamara Micner, transforms her theatrical work-in-progress (workshopped in the 2020 festival) into an audio installation. Audience members will be invited into the Zack Gallery to listen to Micner’s reading of letters written to Paul Simon and Art Garfunkel, reflecting on how their music informs her feelings about friendship, activism, Jewishness and art. There will be opportunities to “meet” the artist via video stream for conversations about her work and ideas.

Throughout the festival, Bahr converses with festival artists, featuring her stand-up and a wide-ranging cast of characters.

Due to COVID-19 safety processes, all tickets must be purchased in advance and will not be available at the door. Visit chutzpahfestival.com starting on Sept. 15 or call 604-257-5145.

– Courtesy Chutzpah! Festival

Khazzoom has new EP

The cover of Iraqis in Pajamas’ new album, Pijamama, features Loolwa Khazzooom’s grandfather, Abraham Khazzoom.

The multifaceted, multicultural and impossible-to-pigeonhole Loolwa Khazzoom is back, along with her band, Iraqis in Pajamas, with a studio-produced album, Pijamama, that was released on July 16.

The new album by the Seattle-based musician honours her mother, E.J., who passed away on July 16, 2019, and who encouraged Khazzoom to pursue her music. Khazzoom credits E.J. with demonstrating that we all have “the ability to radically transform ourselves and our relationships – and to stop the crushing boulder of intergenerational trauma – when are willing to face and go through the darkness together.”

A photo of Khazzoom’s grandfather, Abraham Khazzoom, who she describes as “the original Iraqi in pajamas,” graces the album’s cover. The band’s name, she explained, derives from an uncomplimentary reputation Iraqi expatriates had in the Israeli city of Ramat Gan for putting on their pajamas when they had arrived home and the work of the day was completed.

The EP features Khazzoom on vocals and bass, Robbie Morsehead on drums, Cali Hackmann on keyboard and backup vocals, and Alden Hackmann on guitar. The melodies and lyrics were written by Khazzoom. Pijamama showcases three songs.

“Mahalnu” explores the Jewish practice of asking forgiveness ahead of Yom Kippur. It then raises the question of what happens when someone asks for forgiveness, without changing their behaviour, especially in the case of violence. “What is the difference between forgiveness of you and erasure of me?” Khazzoom asks.

“The Fixer,” a declarative prayer, advocates the rejection of compensating for another person’s not doing necessary work in a relationship. The chorus, “ashir shir hadash” (“I will sing a new song”), comes from “Ezer Musarai,” an Iraqi Jewish song for Purim, which inspired Khazzoom as a child.

“Fireball” looks at being a caregiver in spite of emotional violence. The lyrics proclaim: “You can be downright vicious / Throwing a fireball / At the one who cares most about you / The one who is always there for you….”

photo - Loolwa Khazzoom — Loolwa Khazzoom *(photo from Iraqis in Pajamas)*

Khazzoom has had a varied career. Among other things, she has been an educator, writer and health coach, all of which share, she says, the central principle of individual and collective healing. Ultimately, Khazzoom says she “ditched her power suit and Powerpoint in favour of combat boots and cat glasses to offer bold songwriting as the catalyst for deep and heart-centred conversation.”

The connections between her diverse activities have been subjects she has long contemplated.

“I have been keenly aware of interconnectedness since I was very young, partly because I was highly sensitive and thinking about things deeply, and partly because my identities were a crisscross of those considered at odds or even at war with each other – making it obvious to me that many social constructs and divisions were false,” Khazzoom explained.

“My songs reflect this awareness – explicitly or implicitly connecting dots between things that most people don’t initially recognize as being related to each other, and inviting listeners to rethink their notions and paradigms.”

Khazzoom said she likes to play with this crisscross of identities. For example, people may react one way if she tells them she is Iraqi, and another way if she tells them she is Jewish.

“People generally like shortcuts or scripts in determining what to think about someone, instead of doing the work of getting to know someone, with all the complexity and nuance involved…. I am the same person, yet an entirely different set of assumptions are projected on to me. Standing at the intersection of identities and experiences, I can poke fun at the absurdity of it all,” she said.

Khazzoom refers to her music as “conscious rock,” a way of exploring all our emotions, especially those that allow us to be loud in a healthy way.

“As a collective, we fear intense emotions like rage and grief, and we suppress those feelings in ourselves and others, leading to astronomical levels of addiction and a host of other social and personal ills,” she said. “I believe that all of our emotions are a gift, a GPS system of sorts, pointing us in the direction of that which is true and good, and I find it tremendously liberating, healing and transformative, to express the spectrum of emotions in healthy and constructive ways.”

Khazzoom’s songs are written in English, Judeo-Arabic and Hebrew, and blend Iraqi Jewish prayers, alternative rock and personal storytelling about subjects ranging from cancer, racism and mental illness to national exile.

For more information, visit iraqisinpajamas.com. To participate in the evolution of Loolwa’s work, from poem to spoken word performance to song, go to patreon.com/khazzoom?fan_landing=true.

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

New exhibit at Uvic

Dr. Helga Thorson of the University of Victoria. (photo from uvic.ca)

The University of Victoria unveiled its Stories of the Holocaust: Local Memory and Transmission exhibit – a project that was part of a combined undergraduate and graduate seminar on Holocaust and memory studies – during an online launch on April 15.

The exhibit is the result of a collaborative effort. Ten community members, comprising Holocaust survivors and descendants of survivors, from Vancouver, Victoria and Salt Spring Island, were paired with 10 UVic students to present wide-ranging and diverse stories from the Shoah in a context both personal and relevant to future Holocaust education.

“Students worked one-on-one with a community partner to figure out the best way to tell each story. This, as they discovered, was no easy task,” said UVic professor Dr. Helga Thorson, the course’s instructor. The students had to learn new technological skills, go over an extensive reading list and develop interpersonal skills, which included “relationship-building and the ethical dilemmas that come into play when telling somebody’s story that is not your own.”

“The engagement and involvement of the 10 students, who took the class assignment seriously, will go a long way in helping us remember the Shoah and the story passed on by their community partner,” said Thorson. “Remembering the past also helps us reflect on the present and what this means for us in today’s world as we continue to grapple with antisemitism, racism and other forms of violence, hatred and injustice.”

Ireland Good, one of the students involved in the project, thanked the Jewish community members for “their courage and their trust in us to tell their stories and to create this exhibit. I have thoroughly enjoyed this experience,” said Good, “even with its low moments, as I am sure it is with all the other students.”

The stories represent varied experiences, including having hid in order to survive and having been sent to a Soviet gulag. They come from Hinda Avery, Lillian Boraks-Nemetz, Rudolf Deman, Ilserl Fränkel, Julius Maslovat, Micha Menczer, Isa Milman, Fred Preuss, Claire Sicherman and Hester Waas.

Maslovat was the youngest prisoner ever at Buchenwald, and he is the subject of a recent film, Why Am I Here?: A Child’s Journey Through the Holocaust. The day of the launch, April 15, had a special significance for Maslovat, as it marked the 76th anniversary of his liberation from Bergen-Belsen. He was just under 3 years old at the time.

“My story did not come to me in a neat package. There were people who knew parts of it and contributed. Other parts I had to dig out of archives in Israel, Germany, Sweden, Britain, Poland, U.S. and Finland. I have tried to tell my story by putting together the pieces like a jigsaw puzzle. This time, I have included material I have not spoken about before,” said Maslovat, explaining his contribution to the archive.

“Despite what people may think about Holocaust survivors writing their memoir or speaking about their experience, we are not navel-gazing,” said writer Boraks-Nemetz, who escaped from the Warsaw Ghetto and lived in hiding. “We who have stared into the abyss of the atrocity that was the Shoah can never erase it from our memories. When I speak about my experience, I always think of the survivors and the victims, of the injustice wrought by a madman who destroyed lives – lives of children, of my little 5-year-old sister, who was brutally murdered for being a Jewish child … of the 1.5 million children who needlessly died.”

Boraks-Nemetz continues to explore the personal and broader impacts of the Holocaust through recent works, the novel Mouth of Truth and a collection of poetry, Out of the Dark.

Dr. Richard Kool is the son of Waas, who hid in the Netherlands during the war. He spoke of the importance of conveying the story to future generations. “I’ve really understood that, as Hester’s child and the oldest of my siblings, I have a responsibility as a carrier of a message that helps me keep looking forward towards recipients, towards recipients who have more life in front of them than behind, recipients who may not even be alive yet,” he said.

“We, the survivors and their children, must look forward and consider the powerful message for future individuals and generations,” he added. “Messages that say, ‘Don’t wallow in despair, worry and victimhood, but act, now, to do what you can with the tools at your disposal and the people around you to help co-create a fairer, healthier, more just, more peaceful community and society.’”

To view the exhibit, go to omekas.library.uvic.ca.

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

A Pesach like never before

Cabbage matzah never tasted so … good? (photo from pixabay.com)

Have you ever eaten cabbage matzah? Probably not. But, in Chelm, the village of fools, they still talk about it….

Many winters ago, to battle an outburst of influenza, the villagers of Chelm used all their chickens and most of their vegetables to feed their sick neighbours in Smyrna a healing chicken soup. The Smyrnans got better, but, in Chelm, all that was left was cabbage.

Because of this food shortage, the Chelmener ate cabbage for breakfast, lunch and dinner. Mrs. Chaipul in her restaurant served cabbage porridge, cabbage stew, cabbage stuffed with cabbage, cabbage brisket (don’t ask) and cabbage cake for dessert.

No one was happy. The children whined, teenagers complained, fathers groused and mothers growled and snapped. Only Doodle the orphan, who had an unfathomable love of cabbage, enjoyed the food. But, he quickly learned to keep his appreciation to himself.

Reb Cantor the merchant had hoped for a delivery, but supplies were not expected to arrive until after Passover.

One morning, there was a timid knock on the door to Rabbi Kibbitz’s study.

“Go away!” The learned man was cranky from excessive consumption of cabbage.

Rabbi Abrahms nudged Reb Stein the baker into the room. “We’ve come up with a solution.”

“Rye bread?” Rabbi Kibbitz’s eyes gleamed hungrily. “Challah? Babke? Strudel?”

“Stop it! No!” Reb Stein cried. “You’re making me hungry. I have invented cabbage matzah.”

The wise rabbi stared at his friend the baker. “That sounds horrible.”

“It is,” Reb Stein admitted.

“But it’s kosher for Passover!” explained Rabbi Abrahms, the mashgiach responsible for everything kosher.

“No one is going to want it.” The poor baker was near tears.

“Bake it anyway,” sighed Rabbi Kibbitz. “I’ll pay for it out of the discretionary fund.”

Reb Stein nodded glumly and returned to his bakery.

The weather was fine that year, so the villagers planned the community seder to be outdoors in the round village square.

“The menu is a marvel,” Mrs. Chaipul sarcastically explained to Rabbi Kibbitz. “Cabbage ball soup, chopped cabbage liver, poached cabbage, braised cabbage, cabbage charoses and, of course, Reb Stein’s cabbage matzah for the afikomen.”

Rabbi Kibbitz suppressed a wave of nausea. “At least we’ll be outside, so we won’t smell it.”

Aside from young Doodle, no one was looking forward to Passover.

On erev Pesach, everyone trudged to the round village square to commemorate the Exodus from Egypt. With a sigh and a blessing, the service began.

The wine flowed. Reb Cantor the merchant had opened a locked cellar and rolled five barrels of “I don’t know what vintage it is, but it’s not cabbage” to the round square.

“This is truly the bread of affliction,” Rabbi Kibbitz said as the thick brassica afikomen snapped with a resonating crack!

Reb Stein looked doleful.

At last, after the Hamotzi, everyone tasted the so-called matzah.

It was revolting. Not only was the greenish cabbage matzah bitter and sour and cabbage-flavoured, it was dry and stuck to the roof of your mouth and your teeth like grout on tile.

Everyone quickly mumbled another blessing, and gulped down another cup of wine.

Through his tears, Reb Stein the baker, who was a craftsman at heart, began to laugh. His laughter spread around the table. It grew loud. It grew raucous.

Young Doodle took the opportunity to jump up onto a table and bang his glass with a spoon.

Quickly the laughter died down. Such behaviour in the middle of a seder had never been seen! Fortunately, Doodle had taken off his shoes and wore clean socks because Mrs. Kimmelman never would have forgiven him for getting dirty footprints on her best tablecloth.

Doodle began, “I know that you all hate cabbage!”

There were cheers and boos and applause.

“But,” he continued, “I look around and see my whole community gathered together and I can’t help but think how grateful I am. We have our health. We have our homes. We have one another to support us.”

It is rare for the villagers of Chelm (or indeed any gathering of Jews at mealtime) to fall quiet, but a hush spread.

“We are blessed that we live in peace and freedom, and are not enslaved.”

Now there was nodding and shouts of, “Amen!”

“Raise a glass with me,” Doodle said.

All glasses were held high.

“For this cabbage that we eat tonight,” Doodle said, “represents the hope that, one day, all women, all men, all people will be freed from oppression and slavery.”

“And freed from more cabbage!” heckled Adam and Abraham Schlemiel together.

“May we all live in peace!” shouted Rabbi Kibbitz, who had gotten completely caught up in the moment.

Then, with a rousing “Mazel tov!” the villagers of Chelm toasted, drank and ate with gusto.

The next morning, Rabbi Kibbitz realized something as he talked with Mrs. Chaipul.

“Actually, that was one of the best seders ever. And the food.…” The wise old man looked around the restaurant to make sure no one else was listening. “The food was delicious.”

The wise old woman smiled, thought about it, nodded and asked, “So, shall I order some cabbage matzah for next year?”

“No,” laughed the rabbi. “Never again!”

Mark Binder is the author of The Misadventures of Rabbi Kibbitz and Mrs. Chaipul, Matzah Misugas, and many other “Life in Chelm” stories. Visit his website at markbinderbooks.com.

* * *

Reb Stein’s Kroyt Matzah

Grind one large dried cabbage very fine.
Stir in just enough water, so it forms a gruel-like slurry.
No salt. No yeast!
Spread it thickly with a trowel on a baking sheet.
Bake in a really hot oven until crisp but not black.
Serve with cabbage butter, chopped cabbage livers (don’t ask) and cabbage jam.
Enjoy with friends and family.

Fairy tales still relevant

Jack Zipes gives the lecture Resurrecting Dead Fairy Tales on Facebook Feb. 17. (photo from MISCELLANEOUS Productions)

Some fairy tales are timeless in that they still have lessons to impart. For example, The Pied Piper, a story dating back to the Middle Ages, “is a tale of plague, greed, betrayal, conformity/confinement with allusions to child abuse,” explained Elaine Carol, co-founder and artistic director of MISCELLANEOUS Productions.

MISCELLANEOUS’s Plague project will have participating youth, along with professional artists, interpreting the Brothers Grimm’s The Pied Piper “from an intersectional, anti-racist, anti-oppression, queer feminist perspective.” In preparation, Carol told the Independent, “we have been reading our way through the mountain of brilliant writing by Jack Zipes, asking him many questions – even our film editor of Resurrecting Dead Fairy Tales is now reading two of his hundred or more published books.”

image - In Yussuf the Ostrich, political caricaturist Emery Kelen tells the story of a young ostrich who helps defeat the Nazis in northern Africa during the Second World War. — In Yussuf the Ostrich, political caricaturist Emery Kelen tells the story of a young ostrich who helps defeat the Nazis in northern Africa during the Second World War.

Zipes’ recorded Facebook Watch talk, Resurrecting Dead Fairy Tales, will be streamed Feb. 17, followed by a live Q&A with Zipes. Some of the lecture will be part of the documentary being created about the youth-centred theatre project, which will include various workshops and an eventual stage production at the Scotiabank Dance Centre in 2022.

“I have also been working with young professional artists Tiffany Yang, who was a youth in our Monsters production, national and international tours, and Julia Farry, our production assistant/outreach worker,” said Carol. “Tiffany has translated four indigenous Taiwanese folk tales that are stories of plague – mostly in coastal communities, including animal wonder tales of fantastical fishes and other fascinating narratives. Julia has translated three Japanese folk tales focusing on plagues. There are many plague stories that we still hope to collect, including the facts of disease spread by European settlers to the Indigenous people of Turtle Island, as research materials for our project-in-development.

“We are currently collecting these tales to bring to our youth cast after it is deemed safe to work with them in person,” Carol continued, “as we will be using theatre, hip hop/streetdance, contemporary dance, marimba and world music, urban music, performance art, etc., to co-create a new play. This play will be used as a vehicle for the youth to discuss their own experiences of living in a world pandemic.”

Zipes’ lecture was filmed in Minneapolis by MISCELLANEOUS Productions’ professionals. The professor emeritus of German and comparative literature at the University of Minnesota is an expert on folklore and fairy tales. He is a storyteller himself and the founder of the publishing house Little Mole and Honey Bear.

“My parents and grandmother always told me tales of different kinds,” Zipes told the Independent. “When I began studying for a PhD at Columbia University, I wrote my dissertation on ‘The Great Refusal: Studies of the German and American Romantics in the 19th Century.’ My interest in fairy tales grew as I realized that these imaginary tales hold more truth than the so-called realistic future. And I also was angered by Bruno Bettelheim’s book about fairy tales in which he imposed a Freudian interpretation on readers. Since then, I have been trying to reveal how relevant fairy tales are to our lives.”

image - One of the fairy tales Jack Zipes has resurrected is Keedle, The Great, first published in 1940 — One of the fairy tales Jack Zipes has resurrected is Keedle, The Great, first published in 1940.

The examples given in the lecture’s press release are from two books Zipes has translated and published: “For example, in Yussuf the Ostrich, well-known political caricaturist Emery Kelen tells the story of a young ostrich who helps defeat the Nazis in northern Africa during World War II. In Keedle, The Great, first published in 1940, Deirdre and William Conselman Jr. sought to give Americans hope that the world can overcome dictatorships. To the authors, the title character Keedle represented more than Hitler, but all dictators then and now.”

Zipes said, “I don’t think that my being Jewish accounts for my interest in fairy tales. My Jewishness makes me a bit meshuggah, and this is why I try to think out of the box and have developed a storytelling program for children without sanitizing the fairy tales. The best of folk and fairy tales have never been sanitized, and I use tales to tell so that children will be enabled to tell their own miraculous tales.”

“My Jewishness is complex,” said Carol, “because I am mixed-race Sephardic-Romani and Ashkenazi. One of one million reasons I love Jack Zipes and think his work is crucial is his lucid critique of the Disneyfication of fairy tales and folklore.”

Resurrecting Dead Fairy Tales starts at 5pm on Feb. 17 and is intended for older youth and adult audiences. On the day and time, click here for link to watch.

Uncovering the story within

A participant in Yehudit Silverman’s The Story Within process shows off their self-made mask. (photo from Yehudit Silverman)

This past spring, Prof. Yehudit Silverman’s new book came out. In The Story Within: Myth and Fairy Tale in Therapy, the Concordia University professor emerita walks people through a step-by-step process to healing.

“When a person embarks on this journey, they feel called to a story, but they don’t know why,” said Silverman. “And it’s the sense of the unknown that’s really important…. Sometimes, in conventional therapy, we just go around in circles and might not necessarily get to the deeper layers that are inaccessible to us. But, through the arts and through the use of a character from a myth or fairy tale, gradually we can access those areas in ourselves.”

In Silverman’s approach, clients start by choosing their own story after going through a couple of exercises. “That process of choosing the story is therapeutic and healing in itself, because it’s part of the person’s sense of their own sense of knowing their own strengths and their own intuition, which is really important,” she explained. “Also, it’s important to stay with one character in a story for a long time, allowing the depth work to be done … recognizing what the character’s quest is, which is so important in myth and fairy tale, which is why I think they are still so relevant.

“The protagonist is on a quest and has to face obstacles and challenges,” she continued. “That can be so helpful when people are facing their own challenges and obstacles, so they don’t feel so alone. Also, they get to work with fiction, which is very safe, providing a certain amount of distance.”

People choose their stories for different reasons.

“Someone might be really drawn to a character that is having to do an impossible task, like in Rumpelstiltskin, where the girl has to make straw into gold,” said Silverman. “A lot of people think they are facing an impossible task, so they might then choose that story.

“Sometimes, it’s just the title of the story. I worked with an adolescent who was homeless and, sadly, addicted to drugs. When I worked with her, she chose the story of the handless maiden, which led to, sadly, to the revelation of her having been abused as a child. It was just the title that drew her.”

Once people choose a character, they start to build a mask. Then, they build the environment for the character and go through the steps that are described in Silverman’s book. The process is usually done within the context of a group, so that it is witnessed, which, according to Silverman, aids significantly in healing.

“They work with other people so that, at some point, they actually direct someone else in their mask and in their costume,” she said. “They get to look at what their character looks like to an outsider. And then, they have people embodying the obstacle and the helper, so they actually embody going through the quest and the challenges of the character.”

Silverman once worked with an anorexic teen who chose the character of Dorothy from The Wizard of Oz. “For her, the tornado was her eating disorder that took her to the Wonderful Land of Oz … which was, for her, magical. It was the ‘Land of Starvation’ and the good witch, Glenda, was actually evil for her, because she was trying to get her to go back to Kansas…. I realized that, for her, everyone in the hospital was evil, was going against what she felt was her sense of reality and her sense of what was magical and important, which was her starvation.

“And so, little by little, she worked with it and she embodied the tornado,” said Silverman. “She was actually swirling around and started crying, and realized how destructive it was. It was the first time she had had that realization – she didn’t have it when people were just talking to her.”

The teen connected and embodied the “chaotic energy of the tornado,” said Silverman. “She began to realize it was destructive and, then, she very slowly started healing. But, for her, having that story was essential.”

Although COVID-19 has made holding in-person group sessions impossible for Silverman, it has opened the door to including people from all over the world in the online groups she leads.

The Story Within outlines Silverman’s process step-by-step, taking readers through each one, and it can be useful for both therapists looking to implement the technique, as well as anyone wanting to understand why they do what they do.

“If you’re going through something that is severe or you are in crisis, you should definitely see a therapist,” said Silverman. “And, if you’re going to use the book, you should only use it in context of therapy. But, for people looking for personal healing and a way to have creative reflection about what their life and quest is, then it is definitely for those people – for seekers, for artists and, also, for therapists, as something to integrate into their process with clients. And that’s something I do a lot of right now – supervising therapists insofar as how to integrate this into their work.”

Silverman said already established groups can use the book, as well, to form a more solid structural foundation perhaps. And, “there are so many people at home right now, and they are really questioning what their life is about,” she added. With the anxiety, she said, “having this structure, where they can go through a creative process … is so life-giving. It really allows us to express what’s going on inside into an outside form.”

Rebeca Kuropatwa is a Winnipeg freelance writer.

Litman shares stories

Storyteller Shoshana Litman. (photo from maggidah.com)

Shoshana Litman, Canada’s first ordained maggidah (storyteller), kicked off Kolot Mayim Reform Temple’s 2020-21 monthly lecture series on Nov. 1 with a talk entitled Building Jewish Culture Through Stories and Song.

“We humans are a storytelling species,” Litman told the Zoom audience. “That’s what we do. Whether it’s the conversations we have with each other about what’s going on in our lives or the stories we tell ourselves in our own minds, whether they’re true or false, we are always doing this.

“And we Jews are a storytelling people,” she said. “This is what we do, too. If you look at our core text, it is full of stories. The first two Books of Moses are full of stories.”

Litman’s path towards being a maggidah began as her children grew older and she rejoined the workforce. At the time, she started to become ba’al teshuvah (a secular person who “returns” to Judaism). Based in Victoria, she attended conferences run by the Mussar Institute, which was founded by Vancouverite Alan Morinis, and, ultimately, located a program that trains maggidim.

In the mid-2000s, Litman connected with maggid Yitzhak Buxbaum, a student of Rabbi Shlomo Carlebach, in Brooklyn, and she embarked on a two-year program that was taught via conference calls and semi-annual workshops. Upon completing the program in 2008, Buxbaum said to her, “Shoshana, I see how good you are. Now go, save our people.”

Litman regaled attendees of the Victoria synagogue’s event with a story about the Baal Shem Tov from Buxbaum’s Storytelling and Spirituality in Judaism. It happens in the time just before the Baal Shem Tov’s passing, when he told his disciples what they should do when he was no longer with them.

To his follower Rabbi Yaakov, the Baal Shem Tov advises that he go off and become a storyteller. Rabbi Yaakov is skeptical. How can someone make his living as a storyteller? he wonders.

After two-and-a-half years as a peripatetic purveyor of tales following his teacher’s death, Rabbi Yaakov gets wind of a magnate in Italy who would give a gold coin for each story of the Baal Shem Tov he heard.

When Rabbi Yaakov arrives at the gate of the rich man’s villa, he says to the servant, “Tell your master that the personal assistant of the Baal Shem Tov has come, and I have many wonderful stories to tell from experience and not from hearsay.”

The rabbi is invited in and, after a week of good food and relaxation, Shabbat comes. Following a festive meal replete with songs, it is time for stories. But, just then, something peculiar takes place. All recollections of the Baal Shem Tov evaporate from Rabbi Yaakov’s memory. Every trick he tries to elicit the stories fails. The host tells him not to worry, to go to sleep and try again the next morning.

The next day arrives and nothing has changed. Shabbat passes. The other guests at the magnate’s home grow increasingly doubtful. As it comes time to leave, still no tales have sprung from Rabbi Yaakov’s mouth, yet the magnate gives him a bag of gold anyway.

When the rabbi suddenly recalls everything, as he enters his carriage, the magnate asks him to return and Rabbi Yaakov tells the story of a journey he had taken with the Baal Shem Tov.

The group ended up in a town where angry crowds were drawing lots to carry out violent acts against Jews. Everyone was scared, except the Baal Shem Tov. They came to their lodgings in the town and the great Chassidic master went upstairs and opened a window looking out to the main square. The Baal Shem Tov pointed to a house across the square and out of that house walked a bishop, the man responsible for inciting the townspeople against Jews. The Baal Shem Tov told Rabbi Yaakov to bring the bishop to him.

Rabbi Yaakov went to the stage where the bishop was speaking and told him that the Baal Shem Tov wanted to talk to him. At first, the bishop refused, but, after much pressing, the bishop relented and went to see the Baal Shem Tov.

Rabbi Yaakov admits that he doesn’t know what the bishop and his master discussed. Nonetheless, as he finishes his story, tears are streaming down the rich man’s face.

“I can tell you exactly what the Baal Shem Tov said, for, you see, I was that bishop,” says the magnate. “Fortunately, I had holy relatives who convinced the Baal Shem Tov to save my soul. To do so, I had to do many mitzvot. He said I would know when I had been forgiven when someone comes to me and tells me my story.”

During non-pandemic times, Litman performs at schools (from nursery to university), libraries, senior facilities, theatres, houses of worship and other local, national and international venues. To hear her recent talk in full, including the entire Baal Shem Tov story, visit kolotmayimreformtemple.com/shoshana-litman. For more information on her, visit maggidah.com.

The next Kolot Mayim lecture, which takes place Dec. 6, at 11 a.m., features Jonathon Orr-Stav on the topic Arabic Hebrew: An Introduction to How Modern Israelis Really Speak. For more information, visit kolotmayimreformtemple.com/lectures.

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

COVID stories and moments

(“Skewed Priorities,” photo by Bob Prosser)

COVID-19 has upended all of our lives in multiple ways. More people work from home. Self-isolation has become customary. Masks are everywhere. The anxiety and fear of infection have spread as widely as the virus itself. To reflect these and other changes, the Sidney and Gertrude Zack Gallery invited Jewish community members – not professional artists but lay people – to share their experiences, thoughts and emotions in both visual and oral formats. The results can be found in the gallery’s current show, What We See: Stories & Moments from the COVID-19 Pandemic.

photo - “Gloves and Masks” by Doris Fiedrich — “Gloves and Masks,” photo by Doris Fiedrich.

The exhibit, which opened Sept. 10, consists of 15 entries. Each entry, submitted by one person, includes a few photos depicting that person’s new reality and a short essay, in which the participant wrote what has touched them most profoundly. As the deadline for the submissions was early July, everything in the show is about the first few months of the pandemic, before we all got more used to it and the new rules of social interaction became the norm.

Participant Sandra Collet presents her impressions through a poem on the meaning of the current crisis: “… A time of loneliness / A time of LIFE … A time of sadness / A time of hope.” Its last line, “Together apart,” encapsulates one of the most significant changes wrought by the pandemic.

Bob Prosser has written about his “ordinary experiences” and contemplates the days ahead: “… my wife sewed masks, we’re growing herbs and vegetables, we have learned to bake bread.… I’m hopeful but pessimistic about the post-COVID future.” One of the most memorable photographs of the whole show is his: the stockpile of toilet paper in his house.

photo - “Owl” by Evan Groberman — “Owl,” photo by Evan Groberman.

For Derry Lubell, the hardest aspect of social distancing is her inability to be with her family, to interact with her grandchildren. Her short essay is almost a lament. She writes, “… one afternoon, I went to their house and stood on the sidewalk. They all came out onto their front porch.… I took these shots of our separation.”

Micah Groberman encountered a different challenge. Before the pandemic, his business was focused on tourism and, like most every other business connected to tourism, it fizzled out due to the global travel and gathering bans. He writes, “… before COVID, I would walk my sons – Evan, 8, and Jonas, 5 – to school and then begin my workday, but suddenly, I became my boys’ teacher.” He admits that he is not too good at math, so he decided to teach his sons about what he knew, instead: photography and nature. His older son’s photographs of wild birds, taken under Groberman’s tutelage and included in the show, prove the father’s talent for teaching. The images are outstanding.

Paul Steinbok’s photos capture simple, everyday images. In his essay, he expresses sympathy and compassion for those who have suffered from COVID. His own feelings have become more acute, more attuned to the life surrounding him. “This year,” he writes, “I have observed more closely and photographed the ever-changing colours and textures of spring. In addition, I have photographed some situations that have resulted from the COVID restrictions, such as messages of hope, COVID-style birthday parties and exercise classes.”

Tybie Lipetz, the mother of a 4-year-old daughter, writes about the disappointments young children have faced, the school closures and birthday party cancellations. “Life was turned upside down for the kids,” she notes.

photo - “Dog Scarlett” by Fran Goldberg — “Dog Scarlett,” photo by Fran Goldberg.

Despite the drawbacks and dangers of COVID, many entries emphasize the authors’ hope and joy. For example, Fran Goldberg, who belongs to the especially vulnerable age group of 70-plus, has found positivity from her family and her dog. She and her children stay in touch by phone daily. “Instead of talking about what I couldn’t do, we started to focus on what I could,” she writes. “For one thing, I could Zoom with my family.… I have a dog.… She is 13 years old and, on our walks, she still takes the time to ‘smell the roses.’ She and my family have taught me to slow down and appreciate the beauty I see around me.”

photo - “Bouquet” by Kathy Bilinsky — “Bouquet,” photo by Kathy Bilinsky.

Kathy Bilinsky also recognizes the beauty around her, however unexpected, and has captured it with her camera. In her essay, she mentions walking around Granville Island, which she did countless times before the pandemic, and notes how, at the pandemic’s onset, everything looked different, abandoned: “… no vendors, no shoppers, no tourists. It felt surreal…. So many doors that we can’t enter, nor do we want to.”

In her photos of the closed doors of Granville Island, the familiar noisy streets are almost unrecognizable. Who had ever seen those doors in broad daylight without a crowd in front of them?

Another of Bilinsky’s photographs is a bouquet on the asphalt, a gift from her children on Mother’s Day: “… flowers received ‘socially distanced,’ awkwardly tossed on the parking lot floor.… We all just stood and stared at them.”

The 15 participants in this unique show offer stories and moments ranging from eerie to prosaic, from heartwarming to poignant, all contributing to this combined slice of memory of the first few months of the pandemic in Vancouver.

What We See: Stories & Moments from the COVID-19 Pandemic runs until Nov. 10. You can visit the Zack Gallery by appointment or view the show’s digital book at jccgv.com/art-and-culture/gallery.

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

Nurturing love of storytelling

Toronto-based Dana Fradkin will participate in this year’s Yulanda M. Faris Young Artists Program at Vancouver Opera long distance. (photo from Vancouver Opera)

Dana Fradkin is one of six participants chosen for this season’s Yulanda M. Faris Young Artists Program at Vancouver Opera. The multi-talented stage director has multiple interests and occupations: she is an award-winning writer, actor, filmmaker, producer and opera director.

“As a young director in the opera world, I knew I needed more education before I could truly become the director I wanted to be,” Fradkin told the Independent about her desire to become a resident in the program. “Vancouver Opera is the only young company in the country that has a stage director as part of their program, so when I saw the submission breakdown last year, I applied immediately! I had an interview in Toronto a few months later and then got the news shortly after.

“Coming from a background in classical theatre,” she said, “my understanding of classical theatre repertoire is very strong, as is my understanding of the stage, but I am still lacking in my knowledge of opera repertoire. By being part of the Yulanda M. Faris Young Artists Program, I hope to learn more about numerous different classical operas and develop a deeper understanding of the Fach system (the different vocal ranges). I want to practise my leadership and directorial skills in an educational and safe environment and be ready to think on my toes and adapt to any situation.”

Adaptation was necessary for Fradkin to even participate in the program. Based in Toronto, she originally was planning on moving to Vancouver from October 2020 to May 2021. But then came COVID.

“Initially, I was coming to Vancouver as part of the young company to do scene study work with the young singers and assistant direct all three of the main stage shows,” she explained. “I was very excited about this, as the original season consisted of Carmen, Cosi Fan Tutte and Falstaff, and I was to assist a female director on all three of these shows. Now, the program has changed: it’s only from January to May 2021 and it will consist of smaller scale concerts and scene study evenings, as opposed to large-scale productions. Although I am sad to not be part of these large-scale operas, I am very excited to be at the helm of these concert series and to have the creative freedom of working on something completely new.”

Looking at the wide range of Fradkin’s work – which includes being co-producer of ActionCan Films, which specializes in Canadian action films, and co-founder of Keystone Theatre – it seems that she is compelled to try new things.

“They all definitely feed a different part of me, yet, at the same time, they all feel like part of the same thing,” she said about her varied professions and areas of interest. “I chose this world because I love storytelling and what I find fascinating is pondering how to tell a story best. Is it through music, through word, through physical theatre and comedy or through action? As a writer, I ask, do I want to tell this story through cinema or on the stage? I love all types of stories: comedies, horror, romance, war stories, heartbreak, crime, inspiring stories, etc. And what I ask myself is how do I, as an artist, fit best to tell this specific story? I love acting in theatre, writing for film and directing opera, and usually I find the best discipline for myself to fit that story.

“I find cinema and opera quite similar actually, as they are both a very visual medium and it’s so exciting to bounce between the two. I’m inspired by artists like Atom Egoyan, Julie Taymor and others who use different genres to tell a story, using the different mediums to connect most with the audience.”

Fradkin grew up in the Ottawa Jewish community and it was there that her love of performance and storytelling was ingrained.

“I went to Camp Gesher for 10 summers and was deeply active in that community during my high school years,” she said. “The first large productions I was part of were community musicals put on by the Jewish community theatre company called JCC Theatreworks. Between Grade 10 and Grade 12, I did Peter Pan, Bye Bye Birdie, Babes in Arms and Fame with them. This was my first time performing in front of a live audience and I loved it! Connecting with all these Jewish artists at a young age really taught me about community and collective creation and embracing storytelling through community. Many artists I met at JCC Theatreworks are still working in theatre today and are still dear friends.

“I also love telling Jewish stories, and the mini-series I have been writing and working on for years is a six-part series about my father’s time working with war crimes at the department of justice. He [Arnold Fradkin] was the head prosecutor of the first successful case in Canada of having a Nazi war criminal deported and it’s a story I feel very passionately about sharing with the world. I love when I meet other Jewish artists in the industry, as I always feel an instant connection with them.”

Fradkin is joined in this season’s Yulanda M. Faris program by Toronto soprano Jonelle Sills; Cranbrook, B.C., native and mezzo-soprano Amanda Weatherall; tenor Ian Cleary, originally from Chatham, Ont.; Vancouver baritone Luka Kawabata; and Vancouver-based pianist Amy Seulky Lee. The program director is Leslie Dala, who will be part of the Chutzpah! Festival this year – as pianist in choreographer Idan Cohen’s Hourglass, danced by Racheal Prince and Brandon Lee Alley. (See the next issue of the Independent, Nov. 13.)

“I’m very excited and thrilled to be part of the 2021 Vancouver Opera season and I can’t wait to share our work with the community,” said Fradkin, adding a wish that many of us have – “May we all be able to meet and play in person soon.”

For more on the Yulanda M. Faris Young Artists Program and Vancouver Opera, visit vancouveropera.ca.