Yiddish

Tell your own “crankie” stories

Where Do Stories Come From? (fun vanen nemen zikh di mayses) on Nov. 9 highlights a poem from each of three Yiddish women writers: Ida Maze, Esther Shumiatcher-Hirschbein and Yudika. (Illustration by Cesario Lavery)

This year’s Chutzpah! Festival includes several opportunities for people to participate in the arts being performed. A prime example is Where Do Stories Come From? (fun vanen nemen zikh di mayses), wherein attendees of the Nov. 9 event at the Rothstein Theatre will be able to learn new music inspired by Yiddish poetry and, in the Zack Gallery, on Nov. 7 and/or Nov. 12, participate in a “crankie” workshop.

Where Do Stories Come From?, which is presented by the Chutzpah! Festival and KlezKanada – co-curated by the organizations’ respective artistic directors, Jessica Mann Gutteridge and Avia Moore – includes “new musical and visual settings for three Yiddish poems by celebrated Canadian women writers, selected and translated by Faith Jones, with accompanying visual artwork in the form of ‘crankies’ – a centuries-old art form in which an illustrated scroll, evocative of the Torah, is wound across spools set in a viewing window.”

The artistic directors decided early on to work with the poetry of Canadian women writers who wrote in Yiddish, said Gutteridge, “and there was no more perfect collaborator to work with on selecting the poetry than Vancouver’s own Faith Jones. For the musical work, we drew on the incredibly rich community of KlezKanada’s artists and were lucky that Sarah Larsson was interested in the project – she’s not only a gifted composer with a thorough knowledge of Yiddish music, but is herself a stunning vocalist and music director.

“We also spent a lot of time looking at incredible artworks by Jewish visual artists and ultimately selected Benny Ferdman, Ava Berkson and Cesario Lavery, all of whom bring an interest in Yiddish, diverse styles, and interest in visual storytelling to the project. As part of the project involves community participation, we also ensured that all the artists are skilled at and enjoy working with community of all abilities and ages.”

The idea for the event came after Gutteridge met Moore at a KlezKanada Summer Retreat in 2022.

“When the JCC Association announced they would be funding new community-based projects incorporating live music and storytelling with an emphasis on partnerships,” said Gutteridge, “we realized we had a wonderful opportunity to work together to share our assets – KlezKanada’s immersive creative residency environment and access to brilliant artists with knowledge of Yiddish culture, and the Chutzpah! Festival’s presentation opportunities.

“KlezKanada’s 2023 Summer Retreat theme was Yiddish film and, because it’s a very unplugged environment, had plans to explore the ‘pre-film’ illustrated story technique of crankies,” she continued. “We thought this art form would pair beautifully with the musical work being created, and would offer a very engaging opportunity to the community to participate in creating a multidimensional presentation together.”

Where Do Stories Come From? is supported by the JCC Association’s Making Music Happen program and Chutzpah! Festival’s music programming is supported by AmplifyBC’s Live Music Presentation Fund.

The event’s title comes from one of the three poems highlighted, one by Ida Maze. “It’s a poem that grabbed the entire group immediately and we knew we wanted to work with it,” said Gutteridge. “In the poem, Maze creates a strong visual image of a little house that appears to be abandoned, but as you approach you see that a fire is lit and, in the house, sit a grandfather and a grandmother sharing culture and stories with the children, and the stories are then carried away on the wind. For us, this poem really captured the idea of the project – that intergenerational cultural transmission is the key to how we survive and thrive and, in many ways, is a model for how we hope to see this project unfold. But I think the very notion that we pose this as a question invites everyone who experiences the work to ask themselves where they think stories come from.”

The other poems are by Esther Shumiatcher-Hirschbein and Yudika.

“Faith made a longer list of poems selected for their striking visual imagery and potential musicality and presented them to our full group of artists,” explained Gutteridge. “Right away, we all responded to the Ida Maze work and had to then narrow our choices to two more. We asked the artists to highlight which poems they found particularly inspiring and, as artistic directors, Avia and I also kept an eye on whether the selections were creating an interesting and balanced program in terms of style and theme. It was an enjoyable and smooth process and I think we all enjoyed kicking off the project together in this way.”

As for the workshops, Gutteridge said, “Ava and Cesario will be with us through the week to guide workshop participants through the process of making their own crankies, inspired by prompts from the poetry we will provide. While the crankies being made for the music event will be large scale, a wonderful characteristic of this art form is that it can be made any size using very humble materials like a shoebox or even a matchbox. With our partner the Zack Gallery, the work created in the workshops will be on display in a community exhibition, and our video director Flick Harrison will be on hand to help participants capture their crankies in action. Participants can opt to share their crankies and stories in an online video gallery. We hope we will see intergenerational groups making crankies together!”

During the week, Chutzpah! will also be hosting the return of the Flame, with their evening of storytelling on Nov. 6.

“The Flame’s artistic director, Deb Williams, will teach her remarkable day-long storytelling workshop on Sunday, Nov. 12, ending just before our final crankie workshop and the concert presentation,” said Gutteridge. “We hope that these projects together will inspire community participants to explore their own stories and find new and inspiring ways to tell and share them.”

For tickets to Where Do Stories Come From? and other Chutzpah! events, visit chutzpahfestival.com.

Yiddish alive and well

Yiddish has the odds stacked against it – the vast majority of its speakers were murdered in the Holocaust, its use was repressed in the postwar Soviet Union, Israel favoured Hebrew over it, and it faced the challenges that any immigrant language faces in a new country, including in Canada. Yet, Yiddish lives on, and can continue to do so, and even flourish, contends Rebecca Margolis, director and Pratt Foundation Chair of Jewish Civilization at Monash University, in Australia.

Margolis, who is originally from Canada, will be in Vancouver to launch her new book, Yiddish Lives On: Strategies of Language Transmission, at the Peretz Centre for Secular Jewish Culture on May 23, 7:15 p.m. Introducing Margolis will be the Vancouver Jewish Folk Choir with the song “Yomervokhets,” a Yiddish translation of “Jabberwocky” by Raphael Finkel, set to music by the choir’s conductor, David Millard.

The event is particularly special, as Margolis uses the Vancouver Jewish Folk Choir – in which I’ve sung for more years than I can recall – as one of many examples of a “created language space.” Such spaces are “sites that are deliberately created to support the continuity of a language that is not commonly a mother tongue or widely spoken,” she writes.

The small section that features the choir cites the work of local Yiddish scholar and translator Faith Jones, who is a member of the choir as well, and the book references a paper that she and I wrote together in tandem with the 2019 online exhibit marking the choir’s 40th anniversary. I have to say it was an exciting surprise to find a paper I co-wrote quoted, but it’s a quote from Faith’s 1999 thesis on the Yiddish library of the Peretz Centre (the choir’s home, too) that helped me clarify some of what draws me to Yiddish. In commenting on the intersections between Yiddish, politics and identity, Faith wrote that “what these strands have in common is the belief in the power of human beings to alter the course of history. In left political life, in feminist theory, in the movement for lesbian and gay equality, in the political culture of secular humanism, it is not the past which is romanticized, but the future. Yiddish does not offer the path to the past as much as to a collective future which is linked with the past: a better future, but better because of human endeavour.”

It is this human aspect – the intention we can possess – that runs through all of Margolis’s examples of the ways in which people, specifically Canadians, have kept Yiddish alive. She conceptualizes her book “as a series of expanding rings of engagement with the language and culture.” Each chapter focuses on a ring, while acknowledging the rings are interconnected: families (1950s to today), youth theatre groups (1960s to 1970s), literature (1970s to 1980s), singing (1990s to 2000s) and new media/technology (2000 to today).

Margolis explains that Yiddish exists in two communities: the Haredim (ultra-Orthodox), who speak Yiddish in their everyday lives, and the secular, people “for whom continued engagement with the language has taken place despite maintaining linguistic acculturation.” Margolis’s book is mostly about the latter group, but she does discuss the Haredim quite a bit and, to a much lesser extent, the experience of preserving Scottish Gaelic, which, she says, “is undergoing revitalization in Canada and abroad,” and Indigenous languages.

Yiddish Lives On is an academic book, but easy to read, and there are common threads that recur, so that, if you don’t quite understand a concept on first encounter, you will when it is used in a subsequent context. In addition to discussing scholarly texts, Margolis talks about Yiddish writers – in Canada between 1950 and 2020, more than 200 books were published in Yiddish! – and analyzes movies and shows like the web series YidLife Crisis, which was created by and stars Eli Batalion and Jamie Elman, two Montreal secular Jews who speak Yiddish, using “provocative comedic dialogue,” Margolis notes, “to address contemporary issues around Jewish identity.”

Margolis doesn’t expect that Yiddish will ever return to regular, everyday use by non-Haredim, however, she convincingly argues that “a language lives by being used” and that the many spaces that have intentionally been created for Yiddish – “from raising children as native speakers to a virtual Yiddishverse” – bode well for the language’s continuity.

To attend the book’s launch and the mini-concert that precedes it, register at peretz-centre.org.

Time of change at the Peretz

“I like to dabble in things, I like to learn about things, and I think that’s where Peretz really shines,” says Maggie Karpilovski, executive director of the Peretz Centre for Secular Jewish Culture. (photo from Peretz Centre)

At 78, the Peretz Centre for Secular Jewish Culture may be an old dog among community organizations. But it is enthusiastically trying new tricks. The institution has undertaken a strategic planning process to reconsider everything they do, and to make sure they are responding to what their community wants and needs. Not least among the changes is a new face at the helm.

Maggie Karpilovski has been executive director of the Peretz Centre since last June and brings a breadth of experience in the not-for-profit sector and academia.

At a time of significant change for the organization, Karpilovski is applying skills garnered as a senior manager at United Way of the Lower Mainland and as national director of community impact and investment for United Way Centraide Canada. Previously, after completing a master’s degree, she worked at the Surrey school board developing and overseeing programs for vulnerable children.

Born in Kyiv, Ukraine, Karpilovski moved with her family at a young age to Holon, Israel, where she received her elementary and secondary education. After her army service, she came to Vancouver to study cognitive science at Simon Fraser University.

Throughout her career, Karpilovski has merged research and practice.

“I really believe that practice has to be informed by research and research can’t be good research unless it’s grounded in practice,” she said.

The senior roles locally and nationally with United Way were fulfilling but Karpilovski got restless.

“Sitting in that kind of role – very, very high level, which was really interesting and very fulfilling, but we were talking about how to raise capacity for smaller organizations on the ground – I was saying, instead of teaching people how to do it, I wanted to get my hands dirty and do it myself,” she said. “I wanted to be closer to the impact.”

The planning process into which Karpilovski arrived resulted in the creation of several unique pillars within the centre. Notable among these is the creation of a distinct Yiddish Institute at the Peretz Centre, which is headed by Donna Becker, Karpilovski’s predecessor as executive director. Other pillars include art and culture, Jewish secular humanism, and Beit H’Am, which focuses on Israeli culture in Hebrew.

The Peretz is home to Western Canada’s most significant library of books in and about Yiddish. It hosts classes in Jewish culture, language learning, holiday celebrations and commemorations, a folk choir, and other offerings.

Karpilovski said the centre is committed to innovation while maintaining the roots of the organization, which originated in 1945 as the Peretz Schule. It is part of a network of schools, cultural centres, libraries and organizations honouring the legacy of Isaac Leib (I.L.) Peretz, one of the leading writers and thinkers of the Haskalah, the Jewish enlightenment.

Vancouver’s Peretz Centre was founded by a diverse group of Labour Zionists, socialists, communists and others who shared a goal of establishing a school to provide children with a nonpolitical, secular Jewish and progressive education. The shule’s first principal was Ben Chud who, in 1945, had just returned from the war and was active in the United Jewish People’s Order. He and his wife, Galya, were stalwarts of the centre, as is their daughter Gyda Chud, who currently sits on the board.

“We really try to balance the history as well as modernity and recognizing that, [for] people in 2023 in Vancouver, their connection to Judaism can be complex and interesting and multifaceted and we really try to meet people where they are at, to satisfy their curiosity and make sure we’re both providing a space of comfort and familiarity, as well as a space of stretch and of deeper interest and insight,” said Karpilovski.

Given that a majority of Jews in Metro Vancouver now live outside the city proper, the Peretz Centre, which is located on Ash Street near Cambie and 45th, is developing outreach programs and partnerships to reach those audiences. They have also removed their membership model, which may have acted as a barrier to access for some. The doors are open to all, she said.

They are partnering with like-minded organizations, including Camp Miriam and JQT Vancouver, the Jewish LGBTQ+ organization, offering space and learning to be supportive allies.

“What we really don’t want is to replicate efforts,” said Karpilovski. “We really want to find our niche and make sure that we are creating offerings that are unique and that complement and add to that broad constellation of things that are happening. We really see our space in Yiddishkeit as one that is not really offered anywhere else.”

One of the centre’s most unique offerings is its P’nei Mitzvah program, a two-year track for bar/bat mitzvah-aged young people to delve into Jewish history and culture, ancient and modern, but from a non-religious perspective. In addition to the overarching lessons, participants focus down into an area of particular interest for a major research project, which they then present at the graduation celebration.

This Passover, in addition to the traditional secular seder, a popular event that generally attracts more than 100 people, they are holding a family-friendly “un-seder” or “seder balagan.”

“We really turn the seder on its head and focus on activities, engagement, things like that,” she said. “Not something that is necessarily going to be offered at your traditional synagogue.”

An unexpected boon for the Peretz came from the redevelopment of the Oakridge shopping complex, which has turned a huge swath of the neighbourhood into traffic, construction and parking mayhem. The Oakridge branch of the Vancouver Public Library has taken up temporary quarters on the first floor of the Peretz Centre, which has provided the welcome influx of funds that enabled the centre’s strategic planning process. It also brought fresh walk-in traffic from locals, many of whom had no idea there was a Jewish space on the street and who are getting their first introduction to the centre.

“It takes a lot for an 80-year-old organization to turn itself into a learning organization and a curious organization and a brave organization,” Karpilovski said. “We might misstep, [but] we’re going to be brave and try something different. We’re going to listen to our community and not assume that we know everything. It’s a little scary, but it’s a lot exciting because there’s a lot of interesting spaces and interesting innovations that are happening.”

The time of change and exploration at the organization suits Karpilovski fine, she added.

“My own journey with Judaism has been complex and interesting and is incomplete,” she said. “I like to dabble in things, I like to learn about things, and I think that’s where Peretz really shines. There is no judgment. People are really welcome to come, experience, try things for size.”

For more on the Peretz Centre, visit peretz-centre.org.

Song in My Heart delights

Spring forum? What spring? Heavy rain and cold weather welcomed Jewish Senior Alliance’s spring forum that took place at the Peretz Centre for Secular Jewish Culture May 15. But the forum’s title, With a Song in My Heart, was more than fitting and filled the audience with warmth and, I would add to it, “And a Smile on My Face.”

The first hybrid program of JSA attracted 40 people attending in-person, as well as another 40 people by streaming links. Gyda Chud, co-president of JSA, welcomed the audience and reminded them of the work JSA does in outreach, advocacy and, especially, peer support.

The program featured Wendy Bross Stuart, ethnomusicologist, music director, composer and piano accompanist, and was dedicated to the memory of two musicians of exceptional talent: Claire Klein Osipov z”l and Joan Beckow z”l. Bross Stuart said she was pleased to have been able to engage three superb singers for the performance – Erin Aberle-Palm, Kat Palmer and Chris Adams, who delighted the audience with not only their beautiful voices but also with their charming stage presence.

The program started with the beautiful title song, “With a Song in My Heart,” which is a show tune from the 1929 Rodgers and Hart musical Spring is Here.

Bross Stuart spoke about the Joan Beckow Legacy Project, started by Bross Stuart’s daughter, musician and composer Jessica Stuart, which spotlights works of the brilliant, prolific and totally under-celebrated composer, who died in January 2021. Beckow had been Michael Bublé’s vocal coach, as well as Carol Burnett’s music director. She wrote “Pretending” to capture the sense of wonder provided by “Somewhere Over the Rainbow.” Burnett learned it in a day and it became part of their production.

The forum performance included the Hebrew song “Tov L’Hodot,” as well as George Gershwin’s “Someone to Watch Over Me,” which was most famously sung by Ella Fitzgerald. It continued with my all-time favourite Yiddish song, “Oyfn Pripetshik,” which made me think of my mother, followed by “Rozhinkes mit Mandlen,” which prompted many in the audience to sing along.

“Guided by the Stars” was a conversation between husband (Captain Cook) and wife, who pleaded him to be careful upon his forthcoming voyage. Alas, Captain Cook’s life came to a fatal end on that last journey.

While almost all of us are familiar with the song “Somewhere Over the Rainbow,” how many of us know that it was written by sons of Jewish immigrants from Eastern Europe, who escaped the pogroms to “a land they only imagined in their dreams”? Edgar Yispel (Yip) and Harold Alan wrote the song for The Wizard of Oz, which came out on New Year’s Day 1939, less than two months after Kristallnacht. The music is deeply embedded in the Jewish experience, and the lyrics become more about Jewish survival than wizards.

A medley from Fiddler on the Roof further entertained listeners, followed by Beckow’s “On the Other Side of Nowhere.” Her son, David Beckow, selected his mother’s lyrics to inscribe on her gravestone: “When this life is over, we will meet somehow, on the other side of nowhere, on the far side of now.”

The performance ended with a singalong of “Tum Balalaika” and an encore of “Dona Dona.”

Shanie Levin thanked the performers and spoke of the importance of remembering and honouring Beckow and Klein Osipov.

The next JSA event takes place on June 27, 1 p.m., at Congregation Beth Tikvah, and features tenor Gustavo Herrera. The hybrid event is co-sponsored by Kehila Society and the synagogue; if attending the lunch portion, the cost is $12. Register by June 24 with Toby Rubin, [email protected], or via jsalliance.org.

Tamara Frankel is a member of the board of Jewish Seniors Alliance and of the editorial committee of Senior Line magazine.

Poetic auto/biography superb

Lisa Richter, author of Nautilus and Bone, joins the Jewish Book Festival Feb. 7 (photo from Lisa Richter)

Nautilus and Bone: An Auto/biography in Poems by Toronto poet Lisa Richter – who takes part in the Cherie Smith JCC Jewish Book Festival on Feb. 7 – will send readers down many proverbial rabbit holes. They will want to know more about the writings and life of Yiddish poet and journalist Anna Margolin – not only to better understand Margolin, but to appreciate more fully Richter’s poetic biography of Margolin and her conversations with Margolin’s works.

Margolin is the pen name of Rosa Lebensboym, who was born in Brisk (now Brest, Belarus) in 1887. She immigrated to New York City in 1906, “spent time in London, Paris, Warsaw, Odessa and Palestine before eventually settling permanently in New York in 1913, where she died, in 1952.”

Says Richter: “I was enticed by this Russian-Jewish-American woman writing a hundred years ago about myth-making, roots, identity, alienation, gender fluidity, Eros and desire (at times unmistakably queer, arguably pansexual). Her poetry felt bold and subversive, even by modern standards: H.D. meets Patti Smith.”

Richter does not speak Yiddish, so has relied on Shirley Kumove’s Drunk from the Bitter Truth: The Poems of Anna Margolin, a translation of Margolin’s volume of poems, Lider (Poems), with a “thorough and comprehensive introduction to Margolin’s life and work.” Richter also accessed Margolin’s files at YIVO and read Reuben Iceland’s (Ayzland’s) memoir, From Our Springtime: Literary Memoirs and Portraits of Yiddish New York, as well as other source material.

Richter discusses her many reasons for feeling connected to Margolin, including that, as Lebensboym adopted the name Margolin upon arrival in New York, Richter’s maternal great-grandfather, born Samuel Margolin, “changed his surname to the more Russian-sounding Lapitsky to avoid antisemitism when he immigrated to Montreal as a young man in 1903.”

Richter writes, “I like to imagine him meeting Miss Rosa Lebensboym. In my imagination, he passes his old birth name to her, much in the way one would pass along a string of heirloom pearls to one’s daughter (though they would have been roughly the same age, both born in the 1880s).” Richter notes that the name Margolin and its variations come from the Hebrew margoliyot, meaning pearls.

The emotional and spiritual connections come through in Nautilus and Bone. Richter does not claim to explore every facet of Margolin’s life and work. She explains, “The persona I have enacted in these poems hovers on the periphery of my imagination, filtered through my own dreams, preoccupations, (dis)pleasures, experience. I try my best to give a lyric voice to the most essential, enduring aspects of the poet’s life and work as I see her, and to engage in conversation with those parts of myself that are most closely, most symbiotically intertwined with her story.”

And she does so in a wide variety of poetic forms, all of which she wields with great skill. Among the recognition the book has garnered are the Canadian Jewish Literary Award for Poetry and the National Jewish Book Award for Poetry (United States) – “the first time a Canadian poet has ever received this honour,” Richter shared with the Independent.

In Nautilus and Bone, most readers will encounter forms of poetry they’ve never encountered before. “A City at the Sea’s Mouth” is a homolinguistic translation (in this case, English to English). “Primeval Murderess Night Talks Back to Anna Margolin” is a Golden Shovel poem – the “end-words of each line make up the first two lines of Anna Margolin’s poem ‘Primeval Murderess Night,’” notes Richter, crediting the creation of the form to Terrance Hayes. And, as the name suggests, “Anna Margolin Cento” is a cento, in which a poem is composed of lines from other poets’ poems.

“A poem’s form and content are inextricably linked, in the same way that a particular dish can only be made or served in certain kinds of containers,” Richter told the Independent in an email interview. “The same raw dough can be shaped into dinner rolls, pretzels or challah bread – the way you present and shape the material will affect the way it’s consumed and experienced.

“In some cases,” she said, “the form came to me later (the prose poem form of ‘So Uncommonly Smart for a Girl,’ for example) after a traditional, lineated form didn’t seem to be working. In other cases, the form came first, and the poems later. For instance, the long sequence of sonnets at the end of the book became the vehicle for telling the love story of Anna Margolin and her final life-partner, the poet Reuben Ayzland, as the sonnet has a long and distinguished history of wrestling with matters of the heart.

“The process of homolinguistic translation, or ‘re-translating’ a poem from the same language, is a means of engaging/wrestling/ conversing with a source text, and keeping it alive by breathing new life into it, using fresh grammar, syntax and language. I see it as an act of homage and tribute.”

Some of the poems were written as early as 2017, said Richter, shortly after her first book – Closer to Where We Began – was published, but “the bulk of the poems were written over the course of a year-and-a-half, from 2019 to spring 2020,” she said. “The original manuscript was much more autobiographical, but once I started researching and writing the Margolin poems, it became clear that the book was to become ‘an auto/biography in poems,’ as the book is subtitled, and was much more about Anna Margolin than it was about me. I have to credit my editor at Frontenac House, Micheline Maylor, for her vision and encouragement for this project. Both she and George Elliott Clarke, my mentor at the Sage Hill Spring Poetry Colloquium, were extremely supportive.”

While Richter’s conversations with Lebensboym/Margolin left her with more questions than answers, Richter said, “I think that’s a good state of mind for a poet to live in. As Rilke famously put it in Letters to a Young Poet, ‘Do not now seek the answers, which cannot be given you because you would not be able to live them. And the point is, to live everything. Live the questions now.’ I don’t think I’ll ever be entirely ‘done’ with Anna/Rosa, but it’s not entirely up to me. For all I know, she’ll be with me for some time…. I would love to learn to read Yiddish someday so I could read and appreciate her work in its original form.”

As for what she hopes readers take away from the conversations, Richter said, “Mystery, uncertainty, history, complexity, ambiguity, ancestral lineage, eros/sensuality, mythmaking. But if a reader just finds one poem in the book that speaks to them, I’m happy.”

Richter will be joined Feb. 7, 6 p.m., by local translator Rachel Mines (Jonah Rosenfeld: The Rivals and Other Stories; see jewishindependent.ca/stories-that-explore-the-mind) in a discussion with moderator Faith Jones. Visit jccgv.com/jewish-book-festival.

Gritty, moving, funny stories

Stephen Aberle, Nicola Lipman and Geoff Berner will perform stories from Vilna My Vilna: Stories by Abraham Karpinowitz, as translated by Helen Mintz, as part of Western Gold Theatre’s Virtual Gold series.

Vilna My Vilna: Stories by Abraham Karpinowitz (Syracuse University Press, 2016) is a collection of 13 short stories and two brief memoirs by Abraham Karpinowitz (1913-2004), translated from Yiddish into English by local storyteller Helen Mintz.

Thanks to Mintz, “more of us can now visit Karpinowitz’s Vilna – a city full of colourful characters, both real and not, and share in a small part of their lives.” (jewishindependent.ca/vilna-the-place-its-people) And, thanks to Western Gold Theatre, even more people will be able to visit Karpinowitz’s Vilna this Chanukah.

When Vilna My Vilna was published, actor Stephen Aberle both helped present the book and interviewed Mintz at the JCC Jewish Book Festival.

“As part of the presentation, Helen and I read excerpts from several of the stories. I was struck immediately by how engaging and naturally theatrical these stories and characters were, and I’ve been thinking ever since that a dramatic rendition would be a great thing,” Aberle told the Independent. “Then, earlier this year, Tanja Dixon-Warren, Western Gold Theatre’s artistic director, approached me with the idea of curating one of their Virtual Gold series around Chanukah time. I immediately thought of Vilna My Vilna as the perfect material for such a project, pitched it to Tanja, and she loved the idea, as did Helen. So, I set about to recruit my luminously wonderful co-presenters, Geoff Berner and Nicola Lipman, to be part of it all.

“When Helen and I first began talking about some kind of performance of these stories, we thought of Geoff and it just clicked perfectly. His ‘klezmer-punk’ material and presentation and his beautiful selection and rendition of Yiddish songs provide exactly the flavour to suit these rather gritty stories,” said Aberle. “And I had got to know Nicola through working together on the development of a wonderful new play by Manami Hara, Courage Now (coming soon to a theatre near you – but that’s another story) about Chiune Sugihara, the Japanese diplomat who helped thousands of Polish and Lithuanian Jews escape the Nazis.”

Lipman was “another perfect fit,” said Aberle. “And here we are!”

Western Gold Theatre will release individual video recordings of the selected stories, one at a time, throughout Chanukah, said Aberle, “and Geoff will frame each of them with some of his stirringly beautiful Yiddish music – an intro and an ‘extro,’ if you like – thematically linked to the content of the story. I won’t say a lot more except to add that, when Geoff and I were talking about which songs to do where, what connections to make and so forth, I think we both found it haunting and moving. Chills.”

Deciding which of the short stories to include in the production wasn’t easy.

“I have pages and pages of notes about the stories, characters, settings, arc of the narrative and so forth,” said Aberle. “In the end, I felt like a lot of my choosing was helped along by the format: we’ll be recording ourselves reading over Zoom, so we need to keep things fairly simple, with not too many characters and not too much complex action. I chose stories where the scenes tend to involve one or two characters at a time, so the performers can dig in and work off each other.

“I also tried to choose a variety of themes and moods. The stories are written against the backdrop of the writer’s awareness of what was to come: the Nazi annihilation of Vilna’s Jewish community. We have to be true to that bleak awareness; at the same time, there’s a lot of joy and humour. I tried to make choices to honour the depth and balance Karpinowitz brings to his work.”

Of the stories to be presented, the production’s press release highlights “Vilna Without Vilna,” describing it: “A Vilna native (a pickpocket in his youth, now grown up and respectable) comes back to visit his home city and finds that not a trace of what he remembers remains.”

In “The Folklorist,” a “researcher into Yiddish folklore finds himself professionally drawn to the Vilna fish market – and personally drawn to one particularly expressive fishwife.” And “Chana-Merka the Fishwife” picks up this story, “continuing the adventures of the Vilna fishwife and the school of Yiddish Institute scholars who swim after her.”

Finally, “Tall Tamara” recounts how a “Vilna prostitute and her friend find their way out of the brothel and into very different lives.”

The performances will all be online.

“Theatres are just starting to re-reopen up to in-person performances, but, for this project, we’re sticking to video presentations,” said Aberle, thanking Dixon-Warren and Western Gold “for their vision in creating the Virtual Gold series.”

“When the pandemic shut things down,” he said, “they decided they weren’t going to let it stop their work. They also decided it was important to provide opportunities to artists from a diverse spectrum of communities. And to make all the presentations free! That all takes courage and generosity of spirit.”

For those who watch the Virtual Gold series, Aberle said, “I think I can pretty much guarantee there will be laughs; there may be a few tears. It’s an honour to help share these works so more people can get to know them.”

The stories from Vilna My Vilna will be posted throughout the week of Chanukah, Nov. 28-Dec. 6, at westerngoldtheatre.org/virtual-gold. The full name of the series is Look! Listen! and Learn! Virtual Gold, and the Learn! segment will feature a video interview with Mintz about Vilna, Karpinowitz and being a translator, which will be posted on the Virtual Gold page, as well as on Western Gold Theatre’s YouTube page.

A great-grandmother’s song

Jesse Waldman was inspired by his great-grandmother Adele Waldman to reimagine the Yiddish song “Papirosen.” (photo from Jesse Waldman)

Several weeks ago, I was offered a commission by the Shadbolt Centre for the Arts to do a musical piece for their Covid Chronicles series. A Jewish musician living in Vancouver, I made a video of the classic Yiddish tune “Papirosen.” It has special significance, and it’s something I want to share with others.

As far back as I can remember, my family has been into taking photos, videos and recordings – I have at least three huge albums and a bunch of VHS tapes from birthdays, bar mitzvahs, etc. As well, there was a piano in my grandparents’ living room and music was always part of our lives. Before my grandmother passed away, she gave me a cassette that had been made on a reel-to-reel tape machine in Toronto in 1958. It included my mom at 2-and-a-half-years-old singing nursery rhymes, interviews with other family members, and my great-grandmother, Adele Waldman, singing traditional Yiddish folk songs.

Adele was my grandfather’s mother and she died before I was born. The quality and soul of her voice is absolutely stunning – some of the most moving singing I’ve ever heard, both haunting and soothing at the same time. I could listen to the recordings a million times and still be amazed by the off-the-cuff performances she did in the kitchen of my grandparents’ house.

photo - Jesse Waldman — Jesse Waldman *(photo from Jesse Waldman)*

I recently went through my storage closet and found a binder of sheet music that used to live in my grandparents’ piano bench. It was mostly big band and jazz tunes, but also a handful of Yiddish songs, including “Papirosen,” which was one the songs Adele sang on those tapes. As I put the sheet music on my music stand and began to study it, I was transported back to Eastern Europe in the 1920s.

Written by Herman Yablokoff in that decade, this song has the most dark yet beautiful melody, and I absolutely adore it. I looked up the lyrics (translated into English) and was struck again by the powerful storytelling about a young boy selling cigarettes, or papirosen, on the streets, offering an introspective look at his inner world.

For the Shadbolt-commissioned piece, I combined Adele’s recorded performance of “Papirosen” and a reimagined rendition of the song that I performed on guitar. After trying a few different things, I landed on the idea of sharing the first segment of her performance (her rendition is five minutes long) followed by a one-take performance by myself. The video can be found at youtube.com/watch?v=RWAVr2W0vvo.

Life-changing impact

Sandy Shefrin Rabin’s debut novel is a far-reaching account of Jewish life in a small town in the late 1940s and early 1950s. Targeted to young adult readers, Prairie Sonata may focus on 11-year-old Mira’s friendship with her school (and violin) teacher, a Holocaust survivor, but it touches upon countless issues, from dealing with trauma, to preserving a language and a culture (Yiddish), to understanding different musical forms, to interfaith dating, to society’s views of mental illness, to learning about the impacts of physical disease (polio).

Set in the fictional town of Ambrosia, Man., an adult Mira reflects back on the impact that one of her teachers – Ari Bergman, called Chaver B by his students – had on her.

Chaver B is introduced to his Peretz School Yiddish class by the principal, who only shares, “Chaver Bergman has been living in Europe and just came over to Canada two weeks ago.” But Mira sees his vulnerability right away, the “melancholy about him,” and senses “that this was a man who needed kindness.”

Invited to Friday night dinner by Mira’s mother, Chaver B spots Mira’s violin and offers to teach her. He becomes a friend to the whole family – Mira’s parents and younger brother – but especially to Mira.

The novel is structured in three parts, like a sonata. As Chaver B explains to Mira, a sonata is comprised of an exposition, in which its themes are declared; a development, where the themes are explored and expanded; and a recapitulation, where the themes are repeated, leading to a resolution. In some cases, a coda is added, “to provide a sense of closure.”

Overall, Prairie Sonata is an intriguing novel, and even older readers will enjoy it, especially those who attended a Peretz School or who grew up in the era of the book. At times, when a character is explaining something, it sounds a bit like a Wikipedia entry, but the writing is strong overall and readers will relate to and empathize with the characters. In addition to all of the questions Mira raises throughout, there is a discussion and study guide at the end, with 17 thoughtful exercises for a school group or book club.

Kirman Library spans the arts

The Kirman English and Yiddish Library at the Peretz Centre for Secular Jewish Culture is available for anyone in the community to access. (photo from Peretz Centre)

“Books are humanity in print” – Barbara Tuchman

The Kirman English and Yiddish Library at the Peretz Centre for Secular Jewish Culture was set up in 1976 by Paula and Shaya Kirman, members of the Peretz Institute – as it was then known – and dedicated Yiddishists. The two main purposes in establishing the library were, first, to collect and preserve the books that were scattered in different places in the community, and, second, to make these books available to the whole community in a lending library.

Paula Kirman, who worked as a cataloguer at the University of British Columbia library, volunteered many hours to set up a card catalogue and shelve the Peretz library in an organized way. Eventually, she resigned from her volunteer position because of a perceived lack of support from the Peretz Institute’s board of directors.

In 1999, in preparation for the construction of the Peretz Centre’s present building (in the same location the institute had been since the 1960s), the library books and card catalogue had to be boxed and removed. With the completion of the new building in 2000-2001, the organization was renamed the Peretz Centre for Secular Jewish Culture and the words of I.L. Peretz, considered by many as the “father” of modern Jewish culture, were prominently displayed above the entrance foyer: “A people’s memory is history; without a history, a people can grow neither wiser nor better.”

Sporadic attempts to restore the library were made, but, when Al Stein returned to Vancouver and joined the centre’s board of directors in 2001, much of the library was still in boxes and Kirman’s card catalogue was in disarray. Stein volunteered to lead the effort to restore the library, if the board would support it in two ways: vote for funding for new shelving and support Stein’s effort to obtain a grant from the Jewish Community Foundation of Greater Vancouver to hire a library technician and digitize the entire library, including the Yiddish books.

The grant proposal was successful. A newly graduated library technician, unfamiliar with Yiddish, was contracted and many hundreds of hours were spent properly transliterating each Yiddish book and journal title, digitizing the entire collection in accordance with the latest electronic library standards, relabeling each book, arranging for electronic hosting of the library catalogue, supervising the installation of new shelving and then, finally, shelving the books and journals in an organized fashion.

Thanks to large and small donations of both English and Yiddish books from individuals, from the Winnipeg Jewish Library and from the Isaac Waldman Jewish Public Library at the Jewish Community Centre of Greater Vancouver, as well as a small number of purchases, the Kirman Library of the Peretz Centre now contains nearly 4,000 books and journals and is almost at capacity. The collection includes titles by kabbalists, rabbis, atheists, historians, politicians, musicians, artists, humourists, and those who wrote fiction, plays and poetry – in other words, the entire spectrum of Jewish creativity, encompassing all the arts.

Most of the collection is now in English and is a unique treasure trove of information and pleasure for the casual reader and the scholar. Two collections are of note. The late Dr. Gersh Winrob donated his English-language collection of Holocaust literature, memoirs, history and analyses, certainly one of the largest in the community. And the late poet Miriam Waddington donated part of her library, mostly English-language literature and essays, with a bit of Yiddish poetry.

The Peretz Centre is a proud member of the Yiddish Book Centre, now the largest Jewish cultural organization in the United States.

The Peretz’s library catalogue may be searched from any computer via the Peretz Centre website, peretz-centre.org: click the Kirman Library tab and then the Catalog link. The library ID is Kirman Library. No password is needed.

Books and periodicals can be borrowed for a $10/year fee. Four items may be borrowed at a time, for a period of four weeks, which may be renewed if no hold has been placed on the item. And the library may be used whenever the Peretz office is open, so call ahead before coming down, or for more information about library policy in general, such as its overdue or lost items policy, or to obtain a library card: 604-325-1812, ext. 1, or [email protected].

If you have any specific questions or comments about the library, or wish to make a donation to it, Stein can be reached at 604 731-1193 or [email protected].

Song’s enduring popularity

How does a 1940 Yiddish theatre song – probably based on a passage from the Talmud’s Tractate Bava Metzia – end up becoming a popular piece sung around the world?

Over a 75-year period, Aaron Zeitlin’s “Dona Dona” (in Yiddish, “Dos Kelbl,” “The Calf”) has been sung by some of the 20th century’s biggest English-speaking performers, including Joan Baez, Donovan, the Chad Mitchell Trio, Chad & Jeremy, and countless others. It has been sung in Japanese, German, French (in this version, the calf is replaced by a boy trying to figure out his future) Swedish, Hebrew, Russian, Italian, Catalan and Vietnamese. Zeiltin’s original “Dos Kelbl” was put to music by Sholom Secunda; in 1956, Arthur Kevess and Teddi Schwartz translated it into English.

“Dona Dona” was part of Zeiltin’s Yiddish play Esterke, based on the legendary relationship of a Jewish woman named Esther and King Casimir of Poland. Zeitlin first published it in 1932 in Globus, the Yiddish literary journal he edited. The play about Esterke and Kazimierz the Great was a Polish-Jewish mystery in four acts. Male and female actors sang “Dona Dona” as a solo, as a duet and as a chorus with orchestration.

Zeitlin was invited to New York for the performance of Esterke, which is an indication of how influential Yiddish theatre was in the pre-Second World War Jewish cultural world. With the outbreak of the war, however, he was unable to sail back to his family. His wife, two children, father and brother were killed in the Holocaust.

This terrible loss haunted Zeitlin for the rest of his life. Indeed, some maintain that “Dona Dona” represents the tremendous suffering and loss of life Jews experienced in the Holocaust. While Zeitlin – who was living in Poland in the 1930s – was certainly aware of the growing threat of Nazism, he composed the song before the Holocaust began.

Over time, the song has been interpreted in many different ways. In a 2010 article in The Jewish Magazine, Mendel Weinberger understands “Dona Dona” as a reference to the struggle between the physical and the spiritual. The calf represents the body, the seat of desire. The body seeks pleasure, wealth and honour, and is a slave to these desires. The calf on the way to the slaughterer is a metaphor for the body’s journey towards death. The calf (i.e. the body) is mournful because it has become attached to life and fears the unknown of the next world. The swallow, on the other hand, represents the soul, in Weinberger’s interpretation. The Divine Soul is a part of G-d’s Being and is not bound by the material limitations of the physical world; it is free to soar in the spiritual realms high above the earthly one.

Baez, who, probably more than anyone else in North America, was responsible for popularizing the English version of the song, has said she was attracted to the “beauty of the melody.” At the beginning of her long career, she started singing “Dona Dona” as a civil rights protest song. It appeared on her first album and became a “staple” in her performances.

In 1975, Seoul, South Korea, banned the playing of “Dona Dona.” The government considered the song to be leftist and violence-inducing. Two hundred and sixty other songs appeared on this blacklist.

Pointing to how times change or perhaps stay the same, in 2018, Liao Yiwu, a Chinese writer in exile, used “Dona Dona” to boost the morale of someone under long-term house arrest. He had been trying to get permission for poet Liu Xia (widow of Nobel Prize winner, dissident Liu Xiaobo) to immigrate to Germany. In a phone call that year, the severely depressed widow cried continuously, saying, “It is easier to die than to live.” Liao Yiwu played “Dona Dona” for his desperate friend, who has since been released and allowed to leave for Germany.

Given that Zeitlin had religious training, the Gemara of Talmud Bava Metzia 85a is a likely inspiration of “Dona Dona” and, therefore, probably best explains the song’s true meaning. The Gemara tells the story of how Rabbi Yehuda HaNasi, the redactor of the Mishnah, came to endure terrible pains. A young calf, destined for the slaughterhouse, met up with the rabbi. The calf placed its head under the rabbi’s coattails and cried. Yehuda HaNasi said to it, “Go! It was for this that you were created.” Because he should have shown greater mercy to the calf, the rabbi was punished for 13 years with great suffering. Only when he expressed pity for some baby weasels did his pains leave him.

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.

***

“Dona Dona”

On a wagon bound for market
There’s a calf with a mournful eye
High above him there’s a swallow
Winging swiftly through the sky
How the winds are laughing
They laugh with all the their might
Laugh and laugh the whole day through
And half the summer’s night
Dona Dona Dona Dona Dona Dona Dona Don Dona Dona Dona Dona Dona Dona Dona Don

Stop complaining, said the farmer
Who told you a calf to be
Why don’t you have wings to fly with
Like the swallow so proud and free
How the winds are laughing
They laugh with all the their might
Laugh and laugh the whole day through
And half the summer’s night
Dona Dona Dona Dona … Don

Calves are easily bound and slaughtered
Never knowing the reason why
But whoever treasures freedom
Like the swallow has learned to fly
How the winds are laughing
They laugh with all the their might
Laugh and laugh the whole day through
And half the summer’s night
Dona Dona Dona Dona … Don