women – Jewish Independent

A word chosen with care

Words matter. In a period when traditional media compete with social media, where everyone on the planet can pretty much find a place to say whatever they want, the weight of words can seem lost in the deluge of opinions, aspersions and insults. So, it is encouraging, in some ways, to see a pitched battle over the use of a single word. It assures us that many people still understand the power that language can have.

After the Truth and Reconciliation Commission’s 2015 final report, the federal government set up the National Inquiry into Murdered and Missing Indigenous Women and Girls. The MMIWG report, released last week, concluded that there are “serious reasons to believe that Canada’s past and current policies, omissions and actions towards first Nations peoples, Inuit and Métis amount to genocide….”

The use of the term genocide has sparked a debate. Top federal officials at first avoided using the word. At the ceremony marking the release of the report, Prime Minister Justin Trudeau was interrupted by an audience member who yelled, “Genocide! Say it!” Trudeau opted against it on that day, but he would use the term later in the week. Justice Minister David Lametti deflected discussion, saying he would leave the determination around the use of the term genocide “to academics and experts.”

The 1948 Genocide Convention defines it as “intent to destroy, in whole or in part, a national, ethnical, racial or religious group.” Raphael Lemkin, the Polish Jew who coined the term, described genocide as an effort to destroy the foundations of a national group with the objective of annihilation. While genocide certainly includes state-led mass murder, the term can also incorporate a range of less aggressively lethal acts, such as Canada’s residential schools system, the core goal of which was to eradicate indigenous cultures and languages among native peoples in the country.

The report identifies “colonial structures,” including the Indian Act, the Sixties Scoop, residential schools and offences against human rights, as antecedents to current rates of traumatic violence, suicide and deaths among indigenous populations.

The MMIWG report makes a series of recommendations, including, for example, that police services investigate officers for discrimination and mistreatment against indigenous peoples and failures to investigate crimes, government funding to improve recruitment of indigenous peoples into policing, a national task force to review and potentially reinvestigate every unresolved case and a standardizing of protocols around treatment of the thousands of missing and murdered women.

The chief commissioner, Marion Buller, chose the term genocide determinedly and used it throughout the report.

“This report is about deliberate race, identity and gender-based genocide,” she wrote in the opening paragraph of the final report.

However, the report also acknowledged that there are “outstanding disagreements” over the definition of the term. Alongside the final report came a 43-page legal analysis of the term genocide and how it applies to the Canadian situation.

The lead author of the legal assessment, Fanny Lafontaine, a specialist on international criminal justice and human rights at Université Laval, said, “I think it has to be understood as a very distinct type of genocide from the Holocaust…. Genocide is composed of lethal and nonlethal acts. All of that together leads to the physical destruction of indigenous people, but also as a social unit. It’s the genocide taken as numerous acts spanning decades, basically, that is the root cause of the violence against [indigenous] women,” she told the National Post.

RCMP statistics indicate that 16% of female homicides in Canada between 1980 and 2012 were perpetrated against indigenous women, who make up just 4% of the population. This is triple the rate of nonindigenous women and double those of indigenous men. Testimony from individuals and families that were incorporated into the final report tell a harrowing story of violence and dehumanization.

Some might say that the debate over the term genocide detracts from the urgent, less theoretical components of the report and its recommendations. Maybe. But the considered choice by those who best understand the social impacts of systemic discrimination against indigenous Canadians, especially indigenous women, to use the term genocide should give us pause. Among Jewish observers, there may be an understandable sensitivity to anything that seems to shift the weight of the word, which was created specifically to articulate the Jewish experience in the Shoah. Yet, we should also take this opportunity to learn and understand why and how a community in our midst would articulate their own experiences as amounting to genocide.

Knee-jerk responses are not helpful on this front (or any, probably) and, while the arguments over the meaning and intent of the term reassure us that people still appreciate the power of words, we might also caution not to get stalled over this debate. What non-indigenous Canadians should do at this point – especially if we have an issue with the use of the term genocide – is to dive deeply into the tragic legacies of colonialism that have led to this moment and try to understand why this term was carefully chosen. Perhaps, we can each start with a commitment to read the report.

A case for mothering

“Oh, I know that I owe what I am today to that dear little lady so old and grey / To that wonderful Yiddishe momme of mine.” (from the song “My Yiddishe Momme,” by Sophie Tucker, 1920s)

It was not until the early part of the 20th century that a day was created to honour and officially acknowledge the importance of mothers. Founded by American Anna Jarvis and first observed on May 10 in 1908, Mother’s Day will be celebrated this year on May 12.

But times change, and what may have applied in Jarvis’s time doesn’t go far enough in our present society. A distinction should be made between the mother and the act of mothering: one is a noun, the other a verb. Historically and biologically driven, the role of mothering has been primarily fulfilled by the biological mother. However, in the 21st century, this role is now often carried out by a variety of others, such as fathers, grandparents, adoptive parents, foster parents, step-parents or paid caregivers.

The explosion of neuroscience research over the past few decades has provided a meteoric rise in neurobiological literature with findings that support their predecessors’ observations and predictions in child development. Selma Fraiberg (1977) was farsighted when she wrote that mothering “is the nurturing of the human potential of every baby to love, to trust and to bind to human partnerships in a lifetime of love.” The evidence from various sources converges in the consensus that the human capacity to love is formed in infancy and this bond should not only be considered a gift of love to the baby, but a right – “a birthright for every child.”

Unfortunately, the recognition and awareness of the crucial role of mothering in a child’s healthy development and, consequently, to future generations, is gradually being eroded. It is often seen as a secondary role in the scheme of our busy lives. It was 42 years ago when Fraiberg wrote that we are seeing a devaluation of parental nurturing and commitment to babies and young children, which may affect the quality and stability of the child’s human attachments in ways that cannot yet be predicted. She warned that the deprivation of a mother or mother substitute will diminish a child’s capacity for life.

Fraiberg’s cautionary notice is eerily apparent in the growing numbers of young children and troubled youth as reflected in mental health issues and criminal behaviours. For example, Canadian Bullying Statistics (Canadian Institutes of Health Research, 2012) indicated that 47% of Canadian parents have had a child who has been a victim of bullying; Canada has the ninth-highest rate of bullying in the 13-year-old category in a survey of 35 countries; and at least one in three adolescents have reported being bullied.

The basic needs of children have not changed, but our priorities seem to have been rearranged, as advertisers increasingly shape our wants into needs. We did not invent childhood. We are only discovering what has likely existed since the beginning of time. Louis Cozolino, PhD, (2014) notes there is “a causal link between interpersonal experiences and biological growth.” These links are of particular interest in their impact on early caretaking relationships, when the neural infrastructure of the social brain is forming.

As Lloyd deMause notes in The History of Childhood, “That because psychic structure must always be passed from generation to generation through the narrow funnel of childhood, a society’s child-rearing practices are not just one item in a list of cultural traits. They are the very condition for the transmission and development of all other cultural elements, and place definite limits on what can be achieved in all other spheres of history.”

A world of mothers and mother substitutes has taken on the loving and arduous tasks of mothering, with all the pleasures and perils of parenting. To those who are fortunate to still have mothers in their lives – be thankful and let her know how much she is cherished. For those who don’t, treasure the memories that have become even more precious. And for those who are themselves mothers, you have undertaken the most difficult but important task of life with all its joys and sorrows. You have taken on the most valuable contribution to society and its future as well. So, to mothers and to those who mother, we honour you today and every day.

Libby Simon, MSW, worked in child welfare services prior to joining the Child Guidance Clinic in Winnipeg as a school social worker and parent educator for 20 years. Also a freelance writer, her writing has appeared in Canada, the United States, and internationally, in such outlets as Canadian Living, CBC, Winnipeg Free Press, PsychCentral and Cardus, a Canadian research and educational public policy think tank.

Importance of women’s stories

“Stories Around the Table” meets a couple of times a year to present and critique their writing. (photo from Karen Ludwig)

Today, at Karen Ludwig’s home in New York, the actor, director and teacher regularly leads a group of women in story sharing.

Ludwig, whose father is from Winnipeg but whose family origin is Russian, grew up in San Francisco. “It was a very antisemitic San Francisco town,” said Ludwig of the time. “And the German-Austrian Jews kind of ran the city, and they looked down on Russian Jews.

“We had a rabbi in my temple, Emmanuel, who used to say, ‘Hear, o-Is-roy-ale,’ and I never knew he was actually saying ‘Israel.’

“My mother would speak in a whisper, ‘Is she Jewish? Is he Jewish?’ I never heard the word ‘Jew’ out loud until I came to New York. Then, someone asked, ‘Are you Jewish?’ And, I said, ‘Hey, take it easy.’ But, New York is a Jewish town.”

Ludwig’s parents were amateur actors, acting in synagogue plays, and her family regularly went to see musicals and plays together in San Francisco. Ludwig knew that, when her parents were on stage, they had such a good time and she wanted to be up there with them.

When she was 14, Ludwig subscribed to Theatre Arts Magazine. The late Anne Bancroft was on one cover; she was in the play The Miracle Worker and was making the sign of the letter “L” for love.

“There was something about that picture that was magnetic,” Ludwig told the Independent. “I thought, that’s what I want to do.”

photo - New York-based Karen Ludwig leads a writing group for women — New York-based Karen Ludwig leads a writing group for women. *(photo by Frankie Alduino)*

Cabaret was all the rage and Ludwig went to see a show with her then-boyfriend. She enjoyed it so much that she went to see it again on her own a couple more times and the lead performer, Kaye Ballard, noticed her.

“She came out one time,” said Ludwig, “and saw me and said, ‘What, do you sleep here, kid?’ And, I was born. I thought, ‘That’s it. I’ve been recognized.’ And, I became a follower of hers, because … I loved anybody who made me laugh.

“She met me for coffee a couple months later, very graciously. And, she said, ‘If you’re serious about being an actress, don’t go to college. It won’t do you any good. Go to New York while you’re young and study.’ And so, I did, [after] I went for one year of San Francisco state college. I played the lead in a play called The Wingless Victory, by Maxwell Anderson, and I thought, well, this is easy.”

Ludwig went on to perform in other plays – some on Broadway and some off-Broadway. She even had the chance to work with Bancroft, and they became friends.

This is what led Ludwig to start her women’s group for actors who could write.

While the group took a hiatus for several years, Ludwig restarted it two years ago. They meet every Wednesday and write about topics that are rarely discussed or written about by men.

Ludwig said she developed her writing skills out of necessity. “I did it because I was tired of waiting around for parts, because, as I got older, as a woman, parts became fewer and fewer. So, I decided to write my own show about my career – who I met, who I worked with and, then, another thread through it was my mother and my relationship with her. And the show was very successful.”

Ludwig won a one-night space rental in a competition at Joe’s Pub at the Public Theatre and so performed her stand-up show on that one night. She described it as a wonderful but terrifying experience. Later, for almost two weeks, her show ran at another little studio in the city.

One of the pieces of history that Ludwig shared in the show was her experience playing Ethel Rosenberg in the movie Citizen Cohn. She was very involved in it, even raising money for the Rosenberg Foundation for Children, which “supports children whose parents are incarcerated,” said Ludwig. “I did all kinds of research about how Ethel Rosenberg died, and how many volts of electricity she had to have to still her heart, and then I showed the clip of it in the show I did. I did quite a bit about Ethel Rosenberg and the two boys she left behind, and that she, in fact, was not guilty.”

In her writing group, Ludwig prompts participants each week with a topic to help them focus their writing on different aspects of their lives. This brings about a variety of views on any given topic and the women push one another to dig more deeply than they would on their own.

“There are things that happen in a room with just women that don’t happen with men,” said Ludwig. “So, I thought we would take advantage of that. I use prompts like…. ‘My mother walked into my bedroom and said….’”

Living in the Westbeth Artists Housing complex allows Ludwig to have a big table, so the group has dubbed their meetings, “Stories Around the Table.” They present and critique their writing about twice a year and the subject matter ranges from family to politics to hair and beyond.

Ludwig began her teaching career in Israel. “I kept saying, ‘This country isn’t going to affect me that much,’” recalled Ludwig. “I’m a Reform Jew. What do I care really about Israel? But, from the moment we landed at the airport and they started singing, I began to weep, and weep and weep. And then, there’s a clip of me going toward the Wailing Wall. Again, I’m saying, ‘This doesn’t affect me. It has no meaning for me.’ And, before you know it, I’m davening. It was hard for me to leave Israel, because the actors were saying, ‘You’re a Jew. You should stay here and teach. This is your place to teach us what you know.’ It was very hard to leave; I did love it there.”

In a way, Ludwig’s Israel encounter parallels what she aims to get her writers to experience in their sessions – to discover a connection, to one another, to their past, to the world.

“The whole idea is about sharing each other’s feelings and thoughts about what’s going on … so you don’t feel so isolated,” said Ludwig. “There isn’t a goal exactly. It’s just about the sense of feeling united, together … critiquing each other’s work. And, if we don’t understand something, we talk about it.

“There’s a certain kind of pressure that’s off. There’s a certain feeling of generosity. Really, how many feelings are universal? There’s not that much that separates us, really, in terms of human experience.”

Rebeca Kuropatwa is a Winnipeg freelance writer.

Silber honoured by Shalhevet

Left to right are gala honouree Anita Silber, Shalhevet Girls High School head of school Meira Federgrun and Shalhevet board president Vivian Claman. (Jocelyne Hallé Photography)

On April 7, Shalhevet Girls High School honoured Anita Silber with the Guardian of the Flame Award.

Vivian Claman, president of the Shalhevet board of directors, described Silber as someone “whose default is set to ‘giving.’”

“Anita leads by example, showing what it means to be charitable,” Claman told the Independent. “She is a woman devoted to her community and to her family.”

Having learned the importance of philanthropy from her father at a young age, Silber said, “It left a deep impression on me.”

When asked what she values most, she said, “Jewish education and philanthropy.” And, as a former educator herself, she said she recognizes the excellent quality of education the girls receive at Shalhevet.

“The amount of attention the students get and the mentoring they receive from their principal and teachers will serve them well in the future,” said Silber, who has followed some of the Shalhevet graduates and their careers and community involvement. “It’s so important to have options like Shalhevet Girls High School in order for our [Jewish] community to flourish and remain sustainable,” she said.

Silber’s background includes a variety of careers and leadership roles: elementary school teacher; marriage, family and child therapist; clinical art therapist; member of the Jewish Federation of Greater Vancouver Israel overseas allocations committee; and member of the Vancouver Jewish Community Foundation board of governors, to name just a few.

In the 1990s, Silber led support groups for people with HIV/AIDS and other life-threatening illnesses. She also led children-of-divorce groups at the Jewish Community Centre of Greater Vancouver for Jewish Family Services. With the Silber Family Foundation, she helped establish an art therapy program at Ronald McDonald House.

Silber’s passion for Israel began just a few weeks after the Six Day War, in 1967, when she visited Israel for the first time, at age 22. While there, she volunteered at a hospital and fell in love with the country. Fast forward several decades and Silber, along with her husband Arnold, support numerous projects in Israel’s Upper Galilee, particularly the Friends of Beit Vancouver fundraising initiative in Kiryat Shmona.

“Beit Vancouver, which opened in 2006, is an amazing centre for at-risk kids and teens from the periphery, who go there after school for all kinds of programs, including educational and music programs, computer training and more,” explained Silber. “The centre also serves kids with disabilities, and offers family counseling and therapy.”

With her high regard for Jewish education, Silber was a fitting choice for Shalhevet’s Guardian of the Flame Award. The school, in existence for 13 years, was originally an extension of Vancouver Hebrew Academy, and then struck out on its own as Shalhevet in 2007. It is the only Orthodox girls high school in Vancouver.

According to Meira Federgrun, head of school, fundamental to the Shalhevet philosophy is “empathy and chesed – feeling for others, and seeking to understand them and their needs.”

Federgrun said Shalhevet’s teachers “instil in our students a passion for leadership, inspiring them to step up and take responsibility. Students are involved in planning and running school programs, Shabbatons, and extracurricular activities.” The teachers have created a real sense of community for the girls, both in and out of school, she said.

According to Claman, “When the girls are all together, they’re like a gigantic family.”

Shalhevet’s enrolment is not large – only 14 girls in grades 8 through 12 this year – yet they offer a full dual curriculum of Judaics and secular studies. Federgrun said it’s a small school, “but we pack a big punch.” The teacher-student ratio and small class size (one to four students) allow for personalized attention and learning.

Shalhevet has also offered some AP (advanced placement) and online classes.

“We definitely cater the curriculum to what the girls want to do. If we have a girl who wants a specific course, we’ll make sure to offer it for her,” said Federgrun. “We’ll also help out any special needs students by collaborating with the family, staff and any service providers to create an IEP (individualized education plan) for each student. That IEP guides our teaching and goal-setting for that student, and it’s reviewed often and adjusted as needed.”

Shalhevet offers a variety of extracurricular programming, including a basketball team, an annual play produced by the girls, holiday events and a student committee. Shalhevet accepts girls from a range of Orthodox Jewish backgrounds, complemented by a staff of teachers that includes secular educators.

Shalhevet graduates have gone on to study at top-notch universities, securing careers in areas such as medicine, speech language pathology, social work and law. Many Shalhevet graduates also have gone on to study in seminary.

“We teach our girls to look beyond themselves and to see others for who they really are on the inside, without fear, and with open hearts. This commitment extends beyond the walls of the classroom and the school. Shalhevet is known for our students’ commitment to volunteering and helping in the community,” said Federgrun in her gala speech. “The students volunteer, tutoring secular Jewish public school students in Hebrew reading, Jewish holidays and Torah knowledge once a week, which is a powerful way for the girls to play a role in the broader, non-religious community. The girls also volunteer at the Louis Brier Home, spending time with seniors, visiting the sick in hospital, and more.”

Shalhevet girls learn solid Torah values, continued Federgrun. “Our Judaics teachers are inspiring role models of devotion to Yiddishkeit, and they engage our students’ minds, hearts and souls through Torah study,” she said.

Claman emphasized that Shalhevet is important for the community, providing religious Jews a place to send their daughters for an Orthodox Jewish education that incorporates a secular education. “There was a big gap in the community because there was no Orthodox girls high school until Shalhevet,” said Claman. With concerns about the Pacific Torah Institute boys high school closing, Shalhevet wants the community to know that they are a strong, thriving school.

Asked what she is most proud of about Shalhevet, Federgrun said, “The warm environment, the girls giving back to our community, strong academics, and the students learning leadership skills.”

She added that many of their students go on to accomplish tremendous things. “We believe in offering a well-rounded education,” she said. “It’s very important to send girls out into the world today, and they need to be prepared.”

Claman said she’s most proud of what the girls do for the community.

More than 200 people attended the soldout Shalhevet gala honouring Silber, which was held at Schara Tzedeck and included entertainment by comedian Ashley Baker. Most of the money raised will go towards student scholarships.

Shelley Civkin is a happily retired librarian and communications officer. For 17 years, she wrote a weekly book review column for the Richmond Review, and currently writes a bi-weekly column about retirement for the Richmond News.

Miriam’s legacy of drumming

Female hand drummers from the Iron Age II (eighth to seventh century BCE), found at the site of what was Achzib, on the Mediterranean coast of northern Israel. From the Israel Museum collection. (photo by Deborah Rubin Fields)

In February, an Israeli ultra-Orthodox bride got lots of media attention for playing drums before a mixed (male and female) crowd of wedding guests. Putting aside issues of religious modesty and political clout, does Jewish law restrict females from playing drums?

Significantly, there is a biblical precedent for female drum playing. It dates back to Miriam the Prophetess. Having just crossed a miraculously dry channel in the Red Sea, Miriam felt compelled to celebrate. She and the other Israelite women who had just experienced the Exodus play drums, referred to in Hebrew as tof miryam. (See Exodus 15:20.)

In a 2009 article in Jewish Women: A Comprehensive Historical Encyclopedia, Prof. Carol Meyers notes, “The Bible mentions … only one percussion instrument … the tof, or hand drum, even though other kinds of drums were known elsewhere in the biblical world. Whenever this word is found, it is quite likely that the presence of female instrumentalists is implied.”

Meyers explains that this hand drum consisted of an animal skin stretched over a hollow body of any shape or size. Moreover, although tof miryam is sometimes rendered in English as a tambourine, it is not, given that it has no rattle or bells. Meyers further reports that the tambourine was not authenticated before the 13th century CE.

Additionally, Meyers points out that female figures predominate in unearthed Iron Age terracotta statutes, holding what appear to be hand drums. These women are plainly dressed, hence they appear to be ordinary people, rather than gods or members of the elite.

Few terracotta statues have been discovered in Palestine or Israel. Yet, from the biblical references of Exodus, Judges 11:34, I Samuel 18:6 and Jeremiah 31:4, we are left to understand that there was a tradition of female hand drum players.

Moreover, citing I Samuel 18:6-7, S.D. Goitein states in a 1988 article in Prooftexts, that a woman’s duty was to welcome the returning fighters and to praise them.

Of what importance were these female drums? Meyers elaborates that female public performance would (1) assume a level of competence based upon practice, (2) indicate that, in ancient Israel, there were groups of women performers and (3) imply that leaders and other members of the community acknowledged and appreciated the expertise of these women performers.

Not only that, but, in the book Miriam’s Tambourine: Jewish Folktales from Around the World (1988), edited by Prof. Howard Schwartz, Miriam’s drum had magical abilities. Relying on a 19th-century Eastern European folktale, Schwartz writes that the music from Miriam’s drum drove off serpents and kept Miriam herself in eternal life.

According to Rabbi Allen Maller’s interpretation of the Mechilta and Pirkei d’Rabbi Eliezer, while in Egypt, Miriam taught all the Israelite women how to play the drum. Moreover, he writes on blogs.timesofisrael.com, once the plagues started, Miriam repeatedly reminded the women of all that she had taught them and that, as a sign of their faith in G-d, they should all take at least one drum per family with them when it was time to leave.

Still it is not clear from whom Miriam learned to play. Did Miriam’s mother, Yocheved, teach her to play the hand drum? Or did Miriam learn from Egyptian women?

Broadcaster and writer Eva Dadrian states in her 2010 article “Let there be music!” that ancient Egyptian musicians realized percussion was basic to their orchestras. Thus, they played drums of different sizes. Drums were particularly associated with sacred ceremonial events, but they were also used during battles to rally the troops or to spread panic among the enemy forces.

Dadrian adds that, in spite of the richness of the documentation, our knowledge of pharaonic music remains limited: without theoretical treaty or musical score, it is particularly difficult to do an archeology of music. The two main membranophones used by ancient Egyptians were the single membrane drum mounted on a frame and the barrel-shaped drum with two membranes.

In the University of California, Los Angeles Encyclopedia of Egyptology, Music and Musicians (2013), Egyptologist Sibylle Emerit claims the single membrane drum is documented in Egypt’s Old Kingdom (2575 BCE to 2150 BCE) in a scene carved in the solar temple of Niuserra in Abu Ghurab. She relates that the non-epigraphic material from the East Cemetery of Deir el-Medina, dating to the 18th dynasty, indicates that the owners of the musical instruments buried in this tomb belonged to a modest social class attached to the service of local noblemen. Thus, Emerit confirms Meyers’ assertion about the plain appearance of female Iron Age II drummer statues.

Music researcher, lecturer and performer Veronica Doubleday notes in a 1999 Ethnomusicology article that plentiful evidence shows women played the frame drum in the Egyptian New Kingdom (1570-947 BCE) dynasties. There were musical troupes in temple rituals, as well as solo drum players.

Over the centuries, Islam, Christianity and Judaism marginalized woman’s public drum playing. In a PhD dissertation (2006), Mauricio Molina writes that early leaders of the Christian religion, for example, condemned the frame drums because of their connection with the fertility cults, which the Church was struggling to banish.

Aside from Miriam, Jewish (and non-Jewish) females might have been told that it is not lady-like to play drums, as drummers need to sit with their legs spread apart and drummers sometimes “let loose” to play.

Nonetheless, today, the number of female drummers – including Jewish female drummers – is growing. As the recent bride story reveals, the numbers are increasing even within the Orthodox and ultra-Orthodox community. In Jerusalem, for example, the school Mayever LaMusica (Beyond Music) offers separate drum lessons for girls and women.

Among those who grew up Orthodox are Temim Fruchter, former drummer in the Shondes, and Dalia Shusterman, who drummed in an all-female Chassidic alternative rock group. Elaine Hoffman-Watts, who died two-and-a-half years ago at the age of 85, was a klezmer drummer – many klezmer bands refused her talents because she was a woman; it wasn’t until her father (also a klezmer musician) intervened that she got work as a drummer.

Other notable Jewish female drummers with Israeli backgrounds are Meytal Cohen, Mindy Abovitz (who is also founder and editor-in-chief of the drum magazine Tom Tom), Iris Portugali and Yael Cohen.

So, the beat goes on and, after a long respite, women are again helping to produce it.

Deborah Rubin Fields is an Israel-based features writer. She is also the author of Take a Peek Inside: A Child’s Guide to Radiology Exams, published in English, Hebrew and Arabic.

Pesach: story of a people’s birth

God Almighty Herself induces Egypt to give birth. We simply need to listen for the birth mother’s screams in the delivery room. We hear the screams throughout the plagues, as they become increasingly intensive, starting with the first plague, blood. (illustration by Nina Paley)

The idea of the Exodus as a birth story begins as Shemot (Exodus) begins. The first chapter brings us into the atmosphere of a giant delivery room. Things have gotten out of control: “And the Israelites were fruitful and increased abundantly and multiplied and grew exceedingly strong and the land was filled with them.” (Shemot 1:7)

The Israelites are having children all the time. There’s this anonymous, collective mass of people that are steadily spreading out. The only two figures mentioned by name are the midwives, Shifra and Pua, and there’s a reason for that. The book is telling us: “Pay attention, readers. We are entering a delivery room, and so the most important figures are the midwives. You will feel this sense of birth.”

If one didn’t get this sense from Chapter 1, take a look at Chapter 2. It begins with the personal birth story of Moses, the story of a natural, biological birth, in which a woman becomes pregnant and has a son. A few verses later, the mother places the baby in an ark, or basket, and, when Pharaoh’s daughter comes by, she takes him in and becomes his adoptive mother. She, too, has a birth story. There’s a womb – the ark. There’s water – the Nile. She sees the womb, the ark. She opens it and she sees the baby. She, too, is portrayed as having given birth. If we saw a portrait of the natural, biological birth by the Hebrew mother, we also have a portrait of the Egyptian adoptive mother who takes the child.

This “birth” mindset will intensify and be actualized through this grand metaphoric story we call the story of the Exodus from Egypt. There was a famine in Canaan, so the Israelites went to Egypt to buy grain and find seed. They stayed. Scripture tells us how they “were fruitful and increased abundantly and multiplied and grew exceedingly strong, and the land was filled with them.”

This little nucleus, the embryo that first descended, is developing within this large Egyptian womb, Israel’s “surrogate mother,” which nourishes this fetus. The time comes for the birth. As in any case of surrogate motherhood, there is difficulty. On one hand, it’s not my baby. I want it out. On the other hand, there’s emotional difficulty. I nourished that child. He’s part of my body.

From the perspective of the child, there will be problems, or challenges, of attraction and repulsion toward the surrogate mother in whom he developed. The Children of Israel grew and developed in that womb, and it must be taken out. But the Egyptian mother refuses to begin the birthing process.

Enter the most powerful midwife imaginable – God Almighty Herself. She induces Egypt to give birth. The entire story is described in this manner. We simply need to listen for the birth mother’s screams in the delivery room. We hear the screams throughout the plagues, as they become increasingly intensive. Blood. Frogs. Lice. Beasts. Pestilence. Boils.

We’re standing next to the birth mother, saying, “Push! Push! Scream! Scream! Let this baby out!” Just before the birth, a moment before the Children of Israel emerge, they are commanded to paint the doorposts with blood. Soon after, this people will pass through this doorway.

They will reach the waters. And the waters will descend, as well. Then the sea will split in two, and the Children of Israel will pass through the waters on dry land, through the birth canal that has opened for them. At the end of the birth canal, who will be waiting for them? The midwife, ready to grasp them and teach them to walk.

This story, this birth story, is the powerful story of the birth of a people. But, beyond the importance of hearing this story, it can also explain what happens later, during their travels in the desert.

Like any newborn baby, the people will cry and scream for their most immediate needs – water, food. Moses and God will provide for them because that’s how you take care of an infant. You give water and food. You can’t expect anything else. Slowly but surely, he will be taught to walk. Slowly, he will learn rules. He will be given laws to follow.

When we meet this child in Bamidbar (Numbers), once he has grown, he will make the same requests that he made in Shemot as an infant: water and food. But God’s response will be different, because we don’t have the same expectations of a little baby that we have from a growing child. We expect something different.

How do we connect this to the seder night? The Exodus, first, is a story. There is a strong emphasis on telling the story. It has all the detail it needs, and all the drama we want. These are what make this story a foundational story, one that can be transmitted generation after generation.

We sit around and tell our birth as a people. We try to impart it to the next generation. When we tell the story with all its detail, it excites us once more. But why is this done over matzah?

God planned the Exodus from the time of Abraham: “Know that your seed will be a sojourned in a land not theirs; they will serve them and be tormented by them for 400 years. But then they will go out with great wealth.”

It’s all planned, down to the moment. God tells them to have their loins girded, their bags packed and their food prepared and, when I say so, leave. Everything had been planned. So what happened? Why couldn’t the dough rise? Why couldn’t they have fresh rolls?

This is a precise dramatization of a birth story. If you want it to be credible, it has to be exact. As in the story of any birth, everything is planned. There’s a due date. There’s a packed suitcase, a list of phone numbers to call. If it’s not the first birth, there are arrangements for the older kids.

Yet labour will always be unexpected. It’s always sudden. The water breaks suddenly. Contractions come suddenly. Suddenly, it’s time to go. That’s birth. Everything is planned, but the moment arrives suddenly. This is the meaning of eating matzah. It’s as if we are saying, everything was there, everything was planned. This birth was a major event and, like every other birth, it was unexpected. Despite all the preparations, we had to run, we had to leave. The dough did not have a chance to rise. All that could be made from it was matzah.

Ilana Pardes’s book The Biography of Ancient Israel describes this as the story of a collective persona, the people of Israel: “The Israelites are delivered collectively out of the womb of Egypt. National birth, much like individual births (and all the more so in ancient times), takes place on a delicate border between life and death. It involves the transformation of blood from a signifier of death to a signifier of life. It also involves the successful opening of the womb, the prevention of the womb’s turning into a tomb…. God performs a variety of wonders in Egypt (the 10 plagues in fact are perceived as such), but the parting of the Red Sea seems to surpass them all. It marks the nation’s first breath – out in the open air – and serves as a distinct reminder of the miraculous character of the birth. Where there was nothing, a living creature emerges all of a sudden….”

As we sit around the seder table, around the matzah, telling the story of our birth each year, you may want to read from the poem, “Miracles,” by Yehuda Amichai: “From a distance everything looks like a miracle / But up close even a miracle doesn’t appear so. / Even someone who crossed the Red Sea when it split only saw the sweaty back of the one in front of him.”

Ask every participant at the seder to think of something that happened to them during the year, something that, because the individual was part of it, they “only saw the sweaty back of the one in front of him.” If we were to take a step back and look at things from a distance, we could have said to ourselves: “I’m living through a miracle. I’m passing through the sea, on dry land. I’m undergoing the process of birth, right now.”

It is worthwhile, and it even brings joy, to mention this miracle and think about it at this event celebrating the great miracle of the nation’s birth.

Dr. Orit Avnery is a research fellow at the Shalom Hartman Institute. She received her PhD in Bible studies at Bar-Ilan University. Her dissertation is entitled The Threefold Cord: Interrelations between the Books of Samuel, Ruth and Esther. This article is based on a talk she gave in Hebrew. Articles by Avnery and other institute scholars can be found at shalomhartman.org.

Milestones … Shapira, Or Shalom, Baumel Joseph, Respitz & Krug

Adi Shapira brought home a silver medal for British Columbia in the 2019 Canada Winter Games. (photo by Peter Fuzessery Moonlight Canada)

From Feb. 15 to March 3, Red Deer and central Alberta hosted the 2019 Canada Winter Games. Among those taking home a medal was Adi Shapira.

Winning the silver in the archery recurve, individual female event, Shapira said in a Team BC article, “It is an amazing reward for all the training I have been doing and it is just an amazing accomplishment.”

photo - Adi Shapira prepares for a shot — Adi Shapira prepares for a shot. *(photo from Team BC)*

According to the Canada Winter Games website, Shapira, “who had taken up archery following a school retreat in grades 8 and 9, fought hard in the gold medal match, but Marie-Ève Gélinas, came back to win the gold for Quebec.”

Shapira, 16, is part of the SPARTS program at Magee Secondary School, which is open to students competing in high-performance athletics at the provincial, national or international level, as well as students in the arts who are performing at a high level of excellence. Last November, she won the qualifying tournaments against other female archers ages 15 to 20 to represent the province of British Columbia in the February national games.

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photo - The 2019 Stylin’ Or Shalom fashion models — The 2019 Stylin’ Or Shalom fashion models. *(photo from Or Shalom)*

Stylin’ Or Shalom on Feb. 20 was not just a beautiful evening: the event raised $1,600 for Battered Women’s Support Services so that they can continue their important work.

Models for the fashion-show fundraiser were Ross Andelman, Avi Dolgin, Val Dolgin, Carol Ann Fried, Michal Fox, Dalia Margalit-Faircloth, Helen Mintz, Ana Peralta, Avril Orloff and Leora Zalik. About 50 people attended and, between cash donations and purchases from the My Sister’s Closet eco-thrift store, this year’s show raised about $600 more than did the inaugural Stylin’ Or Shalom event held in 2017. In addition, many people brought clothing donations, which will be sold at the store, generating further funds for the organization.

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The Association for Canadian Jewish Studies has announced that Dr. Norma Baumel Joseph is the 2019 recipient of the Louis Rosenberg Canadian Jewish Studies Distinguished Service Award. Joseph brings together the highest standards of scholarship, creative and effective dissemination of research, and activism in a manner without rival in the field of Canadian Jewish studies, as well as being a respected voice in Jewish feminist studies more broadly.

photo - Dr. Norma Baumel Joseph — Dr. Norma Baumel Joseph

Joseph’s scholarship is remarkable for her mastery of both traditional rabbinic sources and anthropological methods. Her work on the responsa of Rabbi Moses Feinstein, including an award-winning article published in American Jewish History 83,2 (1995), is based on a close reading of some of the most technical and difficult halachic texts. Her mastery of these sources is also apparent in articles on women and prayer, the mechitzah, and the bat mitzvah. She has used her knowledge of halachah in her academic work on Jewish divorce in Canada, including an article in Studies in Religion (2011) and is a collaborator in a recently awarded grant project, Troubling Orthopraxies: A Study of Jewish Divorce in Canada.

As a trained anthropologist and as a feminist, she realizes that food is also a text and she has made important contributions to both the history of Iraqi Jews in Canada and to our understanding of the history of food in the Jewish community. Her Social Sciences and Humanities Research Council of Canada (SSHRC)-funded research has resulted in recent essays such as “From Baghdad to Montreal: Food, Gender and Identity.” Her ongoing reflections on Jewish women in Canada, first appearing as early as 1981 in the volume Canadian Jewish Mosaic, are foundational texts in the study of Jewish women in Canada.

Joseph has chosen to disseminate her research and wisdom in a variety of ways. Her undergraduate and graduate students at Concordia praise her innovative student-centred teaching. Recently, she instituted a for-credit internship at the Alex Dworkin Canadian Jewish archives, which has been beneficial to both the student and the archive. She is in demand as a lecturer in both professional and lay settings. Her work in film has reached a wide audience. In Half the Kingdom, a 1989 NFB documentary on Jewish women and Judaism, she explores with sensitivity the challenges – and rewards – of being both a feminist and an Orthodox Jew. She served as consultant to the film, and was a co-author of the accompanying guidebook.

Since 2002, Joseph has also committed herself to public education by taking on the task of writing a regular column on Jewish life for the Canadian Jewish News. Her views are based on a deep understanding of Judaism and contemporary Jewish life and are worthy of anthologizing.

Joseph is a founding member of the Canadian Coalition of Jewish Women for the Get and worked for the creation of a Canadian law to aid and protect agunot. As part of her Women for the Get work, she participated in the educational film Untying the Bonds: Jewish Divorce, produced by the Coalition of Jewish Women for the Get in 1997. She has also worked on the issue of agunot, as well as advocated for the creation of a prayer space for women at the Western Wall among international Jewish organizations.

Joseph helped in the founding of the Institute for Canadian Jewish Studies at Concordia, and convened the institute from 1994 to 1997, when a chair was hired. She was also a founder and co-director of Concordia University’s Azrieli Institute for Israel Studies. In 1998, she was appointed chair of the Canadian Jewish Congress National Archives Committee, and has remained in the position since then, under the new designation of chair of the advisory committee for the Alex Dworkin Canadian Jewish Archives (CJA). In this capacity, Joseph has been a forceful and effective advocate for protecting and promoting the preservation of Canadian Jewish archival material and for appreciating the professionalism of the staff. She has lent her time and experience to multiple meetings and interventions at various crucial junctures in the recent history of the CJA, during which she has balanced and countered arguments that would have led to the dissolution or extreme diminishing of the archives as we know it. Her work on behalf of the archives has drawn her into diverse committees and consultations. Notably, she contributed her expertise to the chairing of a sub-committee convened by Parks Canada when their Commemorative Places section was in search of Canadian Jewish women-related content. Her suggestions made during the 2005 meetings have resulted in several site designations over the course of the past 12 years.

Joseph has had a unique role in Canadian Jewish studies and Canadian Jewish life, and is richly deserving of the Louis Rosenberg Award.

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In February, Janie Respitz of Montreal won the prize for best interpretation of an existing Yiddish song at the final Der Idisher Idol contest in Mexico City. She performed “Kotsk,” a song about a small town in Poland, which was the seat of the Kotsker rebbe, the founder of a Chassidic dynasty in the 18th century. The win included $500 US.

Respitz holds a master’s degree in Yiddish language and literature and, for the past 25 years, has performed concerts around the world. She has lectured and taught the subject, including at Queen’s University and McGill University, and is on the faculty of KlezKanada, the annual retreat in the Laurentians.

Respitz was among nine finalists, both local and foreign, who were invited to perform at Mexico City’s 600-seat Teatro del Parque Interlomas before a panel of judges and a live audience.

The competition is in its fourth edition, but Respitz only heard about it last year. She submitted a video of her performing “Kotsk” in September and received word in December that she was in the running.

A Yiddish song contest in Mexico City may seem odd, but the city has a large Jewish community, many with roots in eastern Europe, much like Montreal. The winner for best original song was Louisa Lyne of Malmo, Sweden, who’s also a well-established performer of Yiddish works.

– Excerpted from CJN; for the full article, visit cjnews.com

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On March 14, at the New School in New York, the National Book Critics Circle (NBCC) announced the recipients of its book awards for publishing year 2018. The winners include Nora Krug, who was given the prize in autobiography for Belonging: A German Reckons With History and Home (Scribner). “Krug creates a stunningly effective, often moving portrait of Krug’s memories and her exploration of the people who came before her,” said NBCC president Kate Tuttle.

Krug’s drawings and visual narratives have appeared in the New York Times, Guardian and Le Monde diplomatique. Her short-form graphic biography Kamikaze, about a surviving Japanese Second World War pilot, was included in the 2012 editions of Best American Comics and Best American Nonrequired Reading. She is the recipient of fellowships from the Maurice Sendak Foundation, Fulbright, the John Simon Guggenheim Memorial Foundation, the Pollock-Krasner Foundation, and of medals from the Society of Illustrators and the New York Art Directors Club. She is an associate professor at Parsons School of Design in New York and lives in Brooklyn with her family.

The National Book Critics Circle was founded in 1974 at New York’s legendary Algonquin Hotel by a group of the most influential critics of the day. It currently comprises 750 working critics and book-review editors throughout the United States. For more information about the awards and NBCC, visit bookcritics.org.

Glory tour starts soon

The original cast of Glory. (photo by Barbara Zimonick)

I hope Glory inspires audience members to look up the Preston Rivulettes and learn how amazingly driven, committed, skilled and bad-ass these female hockey players were,” Advah Soudack told the Independent.

The Rivulettes were entered into the Canadian Hockey Hall of Fame in 1963. According to the website of the Rivulettes Junior Hockey Club, “The team played an estimated 350 games between 1930 and 1940, tying three and losing only two. In that 10-year span, the Rivulettes were 10 times the winners of the Bobbie Rosenfeld Trophy that was presented each year to the champions of Ontario. They were also six-time winners of the Eastern Canadian championship and the Elmer Doust Cup that went with it. They won the trophy each time they competed for it. The team’s crowning achievement was capturing the Lady Bessborough Trophy as Canadian champions no less than six times.”

“Their determination, their courage, their fight and their passion” were what inspired Tracey Power to write Glory, which starts its touring run March 29-30 at Kay Meek Arts Centre in West Vancouver.

Power was also interested in 1930s Canada, which “presented many personal challenges, a national depression, the growth of international hatred that would ultimately become the Second World War, and how those international relations greatly affected Canadian multicultural relations, antisemitism and sexism, to name just a few.

“Through hard times,” she said, “we often turn to sport or entertainment for escape, for community and for strength. For me, the women on this team and their coach represented not just a team of hockey players, but a country fighting to survive.”

Glory premièred last year, and the touring production brings with it some changes, including two new actors, Andrew Wheeler as the team’s coach, Herb Fach, and Soudack as the character Marm Schwartz.

photo - Tracey Power — Tracey Power *(photo from Gateway)*

“The choreography grows and strengthens with every run,” said Power of other changes. “I’m a huge believer in trying new ideas, and the more detailed we can be in our storytelling, the more exciting it will be for our audience. There may be some new text ideas that come out of rehearsal. I’m always open to a new play exploring new territory each time we go back into rehearsal.”

Kate Dion-Richard reprises her role as Helen Schwartz.

“Tracey reached out to me a couple of years ago to play the part of Helen in a workshop and reading for the show,” said Dion-Richard. “A few months after the workshop, I auditioned formally for the role. That included reading a couple of scenes, as well as taking part in a group dance call. The dance was a new style of ‘swing-skate’ that Tracey had created, which incorporated swing dance moves of the 1930s with hockey skills and plays.”

It is not an accident that Jewish community members have been cast as the real-life Jewish sisters.

“Marm struggles with being able to get the education she wants because of quotas universities had at the time; she fights back against antisemitism and must find ways to deal with her anger both on the ice and off. Helen is confident in her femininity and struggles to figure out how such an aggressive sport fits within the expected view of a woman of that time. It has always been important to me to have Jewish actors play these roles,” explained Power.

“During the development of the play,” she said, “the conversations we had were instrumental in bringing the characters’ truths to the stage. I am not Jewish, but it’s my duty as the playwright to understand the souls and bones of these women and what they went through. I’m extremely thankful to Kate Dion-Richard, Gili Roskies [who played Marm last year] and Advah Soudack for being so open and honest with me about their own Jewish history.

“Bobbie Rosenfeld was one of the most famous Canadian athletes of the 1920s/30s,” she added. “She was an Olympic gold medalist and, among many other sports, played hockey for the Toronto Pats. She inspired many women to follow their athletic dreams – including Hilda Ranscombe, who was the Hayley Wickenheiser of the Preston Rivulettes – and, much like Marm, she also fought against antisemitism in her sport and life.”

“The awareness of, frustration and personal experience with antisemitism are a big part of Marm’s storyline and journey in this show,” said Soudack. “I personally have not experienced the extent of antisemitism that Marm experiences in this story, however, my close family members have, and I can understand and imagine what it would be like. I feel that I bring my strong sense of Jewish identity to the role of Marm, with all its deep-rooted traditions and expectations. I also share and connect with the concern and, at times, discomfort Marm feels with being Jewish in a world where antisemitism lingers right around the corner.”

photo - Kate Dion-Richard — Kate Dion-Richard *(photo from Gateway)*

Dion-Richard, whose Jewish side of the family is from London, England, grew up hearing stories of living through the war from her grandparents. “Those stories stay with me and in many ways is why this role is so close to home,” she said. “Although Helen is Canadian, the antisemitism felt in Canada in the 1930s was strong and I am able to connect to that through my family’s experiences. Also, on a lighter note, I married a man who isn’t Jewish and so did my character, so that’s a nice similarity.”

And there are other connections for Dion-Richard, who was a hockey fan before taking on this show. “My large extended family of Richards are huge Montreal Canadiens fans due to our distant cousin Maurice Richard (‘The Rocket’),” she shared, “and I grew up on the West Coast, so the Canucks were frequently on the television at home. I have definitely become more of a fan since doing this show – especially of women’s hockey. The Canadian women’s team is incredible and I’d love to meet them and chat about their experiences as women in a traditionally male-dominated sport. I’d also love to know if they know about the Rivulettes!”

Soudack admitted to not having been much of a hockey fan before she started her research and work on Glory. “My husband is a big fan, so I always hear him talking about it, and get dragged onto his computer to watch videos of amazing plays and goals,” she said. However, since Glory, she has become more interested in the game. “I recently went to Thunderbird Stadium to watch the UBC Women’s Hockey playoffs,” she said. “Their commitment, drive and talent were inspiring. I was moved to tears as I sat there, thinking of Hilda, Nellie [Ranscombe], Marm and Helen, realizing and deeply understanding why they loved the game so much.”

photo - Advah Soudack — Advah Soudack *(photo from Gateway)*

About sports and the relevance of the Rivulettes’ experiences for today’s audiences, Soudack said, “It still feels the same, in regard to women not having the same opportunities and not really being seen as equals to men in athletic ability. I find it sad that young girls can fall in love with a sport and be exceptional at it, like Hilda Ranscombe; however, there is no future career they can look toward. Once the war was over, women’s opportunity to play sports vanished, whereas the men’s opportunities and careers took off.”

“Women not only had to fight for ice time – often having to play and practise in the very early hours or very late hours of the day; essentially when the men didn’t need the ice – but they also had to fight to be taken seriously,” said Dion-Richard. “Many of the reports of the women’s hockey games included remarks about the apparent lack of femininity within the game and some even questioned the sex of the players because of how aggressive the women were. Also, women were unable to be professional hockey players. The men were paid and the women weren’t. As a woman living in 2019, I still see the need to fight for equality with pay, representation and respect.”

Directed by James MacDonald, Glory has some minor profanity and is recommended for ages 9+. The Western Canada Theatre production – which includes Katie Ryerson as Hilda and Morgan Yamada as her sister, Nellie – heads to Gateway Theatre in Richmond April 4-13 after the March 29-30 Kay Meek shows, then to Capitol Theatre in Nelson April 16, Vernon’s art centre April 18 and Coquitlam’s Evergreen centre April 23-27. It also travels to Ontario, where it plays in several communities over the course of a few months.

“I’d love to add that this show has something for everyone,” said Dion-Richard. “The Canadian history is so important to know, as well as the fight for respect and equality that these women pushed for. They really paved the way for all of us and I hope we can show how grateful we are to them for that. This is a show that could be a link for people who don’t normally go to the theatre. It fuses sport and theatre with Canadian history, and the story is as relevant today as it was in the 1930s.”

Story about friendship

Penny Sprackman receives the special shoes on her 60th birthday, in 2006. (photos from Shirley Barnett)

Some things just happen and, before long, they become a tradition. In 1987, Harvey Shafron, while working at Freedman Shoes on South Granville, came across a rather clunky pair of women’s shoes on a top shelf and gave them to his sister, Rhoda (Shafron) Brickell.

Brickell, in turn, presented them to her friend Lola Pawer for her 50th birthday. Since then, the shoes have been passed from friend to friend among a group of Vancouver Jewish women on birthdays that end in a zero or five.

“It just happened,” said Shirley Barnett, a two-time recipient – on her 60th and 70th birthdays. “It became kind of fun to say, ‘Oh my God, it’s the shoes again.’”

The pair is not casually delivered; the recipient is formally presented the shoes at a celebration, usually at a restaurant, in front of the assembled pals.

“I really believe, as they were passed around, that it’s a story about friendship,” Barnett said. “When you reach a special age of some sort, everybody seems to say girlfriends are really important. It doesn’t matter if you’re divorced or widowed or you’re still married. At a certain age – and that could be 60, 70, 80 or 90 – a light seems to go on in women’s heads that says girlfriends are important. They are the ones you call in the middle of the night – maybe not, maybe you call your kids, I don’t know – but there seems to be an unwritten code that the older you get, you just need a few good girlfriends.”

photo - The “traveling shoes” — The “traveling shoes.” *(photo from Shirley Barnett)*

The size 8C shoes have fit every recipient, Barnett said. A ceremonial walkabout by the birthday celebrant is a part of the ritual.

Leslie Diamond and Pawer have received the shoes five times. Sylvia Cristall and Darlene Spevakow have received them four times. Karla Marks is a three-time recipient and Carole Chark and Penny Sprackman have gotten them twice. Others who have been honoured with the pair are Maja Mindell, Shelley Lederman, Anita Silber, Sandy Magid, Esther Glotman and Cynthia Levy.

At the start, the names of the recipients were written on the soles of the shoes but, as Dorothy Parker said, time wounds all heels, and the inscriptions have become mostly illegible.

What has remained indelible are some of the remarks made by recipients over the years. Barnett, who is sort of the informal archivist of the group, has collected words of wisdom shared over the years.

“It is the friends we meet along life’s way who make the trip more fun,” said one birthday celebrant.

“Friends make good things better and bad things not so bad,” said another.

“Being older sets you free,” reflected one. “You care less about what other people think, you no longer need to question yourself. You have earned the right to be wrong and not think about what could have been or what will be.”

On one birthday, a friend declared: “Remember, growing old is a privilege and old friendships are rare. So, when your ‘old’ friends reach for your hand, grab it.”

Another gem Barnett has collected: “The better the friend, the less cleaning you have to do before they come over!”

Conference invigorates

In New York for the 2018 International Conference of Chabad-Lubavitch Women Emissaries. (photo from Lubavitch BC)

Last month, nine shluchos (female emissaries) of Chabad-Lubavitch in British Columbia – Henia Wineberg, Rivki Yeshayahu, Chanie Kaplan, Shainy Wineberg, Fraidy Hecht, Chanie Baitelman, Blumie Shemtov, Chaya Rosenfeld and Malky Bitton – joined more than 3,000 women leaders from all 50 U.S. states and 100 countries at the International Conference of Chabad-Lubavitch Women Emissaries (Kinus Hashluchos) in Brooklyn, N.Y.

The annual event is aimed at reviving Jewish awareness and practice around the world. At this year’s gathering, thousands of women – hailing from as far away as Laos and Angola, Ghana and Uzbekistan – came together for five days of brainstorming about the future of world Jewry and their roles as representatives of the Chabad-Lubavitch movement.

The leaders, who embrace multiple roles and responsibilities, explored numerous issues and learned from professionals and colleagues with years of experience. The topics covered ran the gamut: understanding troubled relationships; adult education and inclusion; responding to tragedy; fundraising; the opioid epidemic; and mental health. There was also a conference within the conference for Hebrew school and preschool directors, as well as one for those who serve students on college campuses. The meeting included a parallel track for lay leaders.

“The Kinus is my yearly dose of inspiration,” said one of the shluchos. “It gives me strength and motivation for the whole year, to continue bringing light to everyone around me.”

Additional highlights of the five-day conference were a visit to the gravesite of the Rebbe, Rabbi Menachem M. Schneerson, of righteous memory, in the New York City borough of Queens; the “class picture,” where they posed for a group photo; as well as the gala banquet, where they were joined by admirers, supporters and influential women leaders for a sit-down dinner.

The conference is a tribute to the legacy of Rebbetzin Chaya Mushka Schneerson, the esteemed wife of the Rebbe, and is timed to the anniversary of her passing. Rebbetzin Schneerson’s deep care for and insight into their work remains a source of inspiration to the Chabad women emissaries.

The conference also serves another vital purpose: it represents an opportunity to connect with colleagues and recharge their personal energy. This gives the participants, especially those going back to isolated outposts, an exhilarating send-off, coupled with the sense that they are not alone.