Yiddish

Two Yiddish-speaking Bluenosers

Writer Adina Horwich only met Yehuda Miklaf and his wife Maurene in Jerusalem, even though both Adina and Yehuda are from Nova Scotia. (photo by Adina Horwich)

So, this guy walks into my Yiddish group one fine Sunday in Jerusalem – this is not the beginning of a joke. In the group, we welcome anyone who is into Yiddish, with any background, and, on that day, Yehuda was introduced to us. We went around the room asking him questions. I asked where he hailed from. Little could I have anticipated his answer: Nova Scotia.

“I don’t believe it!” I said. “So do I!” Then, “From where, exactly?”

“Annapolis Valley.”

“Oh,” I paused, thinking to myself, I’d be hard-pressed to find any Jews there.

Later, Yehuda’s story was revealed when the teacher matched us up to work together.

Yehuda, an Esperanto speaker and aficionado, has only recently started to learn Yiddish, while I have been at it for 15 years. I started off with little but the smattering I heard as a child. Yehuda happened upon it by the by, via a friend in the hand-printing scene, where he is an active, prominent member. With the characteristic zeal that he tackles so many projects, and lots of gumption, he has taken to Yiddish very well.

The sight and sound of us two old-time Bluenosers (nickname for Nova Scotians) hacking a chainik in Yiddish, is too precious. But, most of all, I like when Yehuda slips into the down-home accent I grew up with. That is when I really kvell.

Né Seamas Brian McClafferty, Yehuda was born in the mid-1940s to a father with Irish roots and a mother with origins in Quebec. The youngest of eight, he had an idyllic childhood, as a small-town Catholic youngster in Annapolis Royal, which today has a population of only 530.

In his last year of high school, Yehuda attended a Fransciscan seminary in upstate New York, his first foray away from home. With his fellow students, he passed a building with Hebrew letters, which intrigued him. A friend he asked about these unfamiliar markings promptly replied: “That’s just Hebrew.” Yehuda had never seen, much less met, any Jews.

He completed his last year of high school and then spent a year of silence and meditation at the novitiate in the Adirondacks. The following year, he furthered his studies towards the priesthood, commencing a rigorous and intense program that sounds like a yeshiva govoha (Torah academy of higher learning).

Discipline and training, mostly in silence, hours of meditation and living under austere conditions, Yehuda carried on through to the second of four years. He heard a lecture about the Torah, which was demonstrated by a small model scroll, and delved deeply from then on, backed by the church’s ecumenical approach of spirituality and faith. He availed himself of the library to his heart’s content and took to reading the Hebrew Bible over and over again. He didn’t know it at the time, but his first steps towards life as an Orthodox Jew were taken, while he was encouraged to become a scholar of the “Old Testament.”

Over the four years of study, Yehuda began to have rather different ideas about how he wanted to live his life.

Returning to Canada in the mid-1960s, he spent time in Toronto and in Nova Scotia, taking road trips home to tend to his father who had taken ill. Things grew clearer.

Yehuda absorbed every mention of things Jewish. It was an emotional attachment. In 1966, after having left Christianity, he discussed his evolving beliefs with a Jewish friend, who said: “You sound more Jewish than me. I’m surprised that you haven’t converted.”

The conversion process was long but not arduous. Yehuda took a class in Toronto and eventually went to the mikvah.

He and his wife Maurene – who he met through his roommate in Toronto – visited Israel, as tourists, for an extended vacation. They had not intended to make aliyah, but, smitten with Israel, as so many of us are, did so three years later.

After making aliyah, Yehuda had to “rinse and repeat,” so to speak, as often happens with conversion. Israeli rabbinic courts do not automatically accept even the most stringent diaspora Orthodox ones, and Yehuda had to go through it again, studying for a year and then going to the mikvah. The converting rabbi gave him the option of choosing a name and Yehuda suited him, since that’s where the word Jew comes from. Miklaf (literally, “from parchment”) was a good abbreviation of McClafferty, he thought, and could not have been more fitting for his chosen profession of printer and bookbinder.

Like most new immigrants at the time, they started out at an absorption centre and had a routine klita (absorption/integration), including Hebrew language studies at ulpan. Maurene got a job in high-tech and Yehuda opened a studio. He started out by binding the original of David Moss’s My Haggadah: The Book of Freedom, and branched out into printing.

The couple attends an Ashkenazi shul but try not to be pigeonholed as being from one background (Sephardi or Ashkenazi). Early on, Yehuda tasted some traditional Ashkenazi delicacies and learned how to make potato kugel, for which he’s now famous, along with kneidlach.

Yehuda still has two siblings in Nova Scotia and visits his longtime friends in Annapolis Royal.

Our paths from the Atlantic led us to meet in Jerusalem, where we raised our families. The Miklafs have two children and several grandkids. Their daughter was a high school friend of my daughter’s, and both women have been living in the same community, and they see each other now and again.

Ma’aseh avot siman l’banim – the deeds of the fathers are a sign for the children – or, in this case, Ma’aseh horim siman l’banot, the deeds of the parents are a sign for the daughters.

Adina Horwich was born in Israel to Canadian parents. In 1960, the family returned to Canada, first living in Halifax, then in a Montreal suburb. In 1975, at age 17, Horwich made aliyah, and has lived mostly in the Jerusalem area. She won a Rockower Award for journalistic excellence in covering Zionism, aliyah and Israel for her article “Immigration challenges.”

Klezcadia set to return

Bay Area klezmer trio Veretski Pass returns to Klezcadia, which runs in-person and online June 10-15. (photo from Klezcadia)

Klezcadia, a festival of klezmer music and Yiddish culture, is back for a second year. The June 10-15 event can be experienced in-person in Victoria or virtually from around the world.

The 2025 festival, free for all who register, features author and playwright Michael Wex, who will be offering a two-part webinar titled Jews, Germans and Jive: Yiddish as a Language of Resistance.

Wex, the author of the bestseller Born to Kvetch and Just Say Nu, will be delivering the talks from his home in Toronto. No stranger to Vancouver audiences, his play, The Last Night at the Cabaret Yitesh (Di Letste Nakht Baym Yitesh), in which he also performed, closed the 2024 Chutzpah! Festival.

Laura Rosenberg, the director and driving force behind Klezcadia, said Wex “is arguably the most famous person to interpret the public impact of the Yiddish language on the English language.”

She told the Independent that the festival’s mission, operating principles and format will be the same as they were in its inaugural season. “The performance and workshop content, on the other hand, will be completely new for 2025, though obviously within the same klezmer music and Yiddish culture arena as last year, and involving many of the same artists and faculty members,” she said.

Between in-person and virtual attendees, Klezcadia had more than 500 participants from 21 countries in 2024 and the 2025 registration looks to be at least on par with those data, according to Rosenberg.

“Everything from concerts to workshops to open rehearsals is designed to equalize as much as possible the experience of in-person and virtual participants,” she said. “And, thanks to our generous donors, registration is once again free.”

Other notable appearances this year include returning Bay Area klezmer trio Veretski Pass, who will appear on both the concert and workshop rosters. Members Cookie Segelstein (violin), Joshua Horowitz (19th-century button accordion) and Stuart Brotman (bass) play a wide variety of East European numbers. This year, they will offer “band-to-band master classes” with two Victoria-based klezmer ensembles.

Vancouver singer/songwriter Geoff Berner, joined by Segelstein, will perform songs from his upcoming album – Berner’s first to be completely in Yiddish. Over the past 25 years, Berner has toured in 17 countries, opened for rock stars in stadiums and, the Klezcadia notes state, “played nearly every dirty little café bar in Western Europe.”

Klezcadia 2025 will see the Victoria debut of Jordan Wax, a rising star on the Yiddish singer/songwriter scene, who will share music from his newly released album, The Heart Deciphers, on the Borscht Beat label. The New Mexico musician blends many influences, from the Missouri Ozarks to the Indo-Hispanic world and the entire Ashkenazic diaspora.

Christina Crowder, director of the Klezmer Institute, based in Yonkers, NY, will be on hand to perform century-old music rediscovered in Ukraine’s Vernadsky Library, which recently was published for global use via the Kiselgof-Makonovetsky Digital Manuscript Project.

As it did in 2024, this year’s festival will conclude with the entire Klezcadia cohort performing a finale concert at the Stage in the Park (Cameron Bandshell) in Victoria’s Beacon Hill Park.

Billing itself as “A Safer Shtetl,” Klezcadia’s hybrid environment prioritizes the safe experience of immunocompromised and high-risk participants, for the performers, crew and volunteers, and for attendees. Indoor activities feature the use of protective protocols such as supplemental air purification, required masking and daily onsite COVID testing.

“We learned from our inaugural-season experience that our fully hybrid format was extremely valuable, both to our immunocompromised and high-risk participants, but also to a vast number of people who, for geographic or financial reasons, were unable to attend in person,” Rosenberg said.

Rosenberg gives credit to other members of the Klezcadia team for helping with the various technical tools needed to put together a hybrid festival. She said some of the evolving challenges faced in viral safety and communal safety, and the current cross-border political situation, have provided added appreciation to how much a hybrid design can be adapted at short notice, if needed.

People who were not able to attend a live event in 2024 have expressed their thanks to Rosenberg in the lead-up to this year’s festival.

“One of my greatest delights in the intervening year since our inaugural season has been hearing what a difference Klezcadia made to our immunocompromised and high-risk attendees,” she said. “Whether local or halfway across the world, many of these people have felt shut out of their communities, including their Jewish cultural communities, and they expressed in heartfelt terms how life-changing it was for them to be able to participate in a cultural festival that prioritized their safety but was open to everyone.”

All Klezcadia events will take place within a 10-minute drive from downtown Victoria. Specific venue information will be provided only after registration, and only to in-person participants. For more information, visit klezcadia.org.

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

Concert fêtes Peretz 80th

The Vancouver Jewish Folk Choir has its spring concert on June 15, at the Peretz Centre for Secular Jewish Culture. (photo from VJFC)

The Vancouver Jewish Folk Choir’s spring concert this year celebrates the Peretz Centre for Secular Jewish Culture’s 80th anniversary.

Since it was established in 1979, the choir has been recovering, preserving and singing traditional and contemporary Jewish folk music. This year’s concert – on June 15, 7 p.m., at the Peretz Centre – features “Ikh bin a yid,” a cantata by Vladimir Heifetz (1894-1970), based on the poem by Itzik Feffer (1900-1952). Feffer was a Soviet Yiddish poet and member of the Jewish Anti-Fascist Committee who was executed on the Night of the Murdered Poets. The poem emphasizes how, through courage and creativity, the Jewish people have survived centuries of adversity.

The choir also will perform “Sankt besht,” a poem by Itsik Manger set to music by Vancouver Jewish Folk Choir director David Millard. In the poem, the Baal Shem Tov (the 18th-century Jewish mystic and founder of the Hasidic movement) is awakened from sleep and meditates on grief, joy and dreams.

On the program, as well, is a selection of songs arranged by choir founder Searle Friedman, including “Doyres Zingen” (“Generations Sing”), based on a poem by Ben Chud, first principal of the Peretz Shule.

For concert tickets, visit peretz-centre.org. General admission is $36, but, until May 31, people can get tickets for $12 each. However, no one turned away for lack of funds – there is a “pay as you can” option.

– Courtesy Vancouver Jewish Folk Choir

More than an edgy cabaret

Left to right: Shane Baker, Sasha Lurje and Michael Wex in The Last Night at the Cabaret Yitesh (Di Letste Nakht Baym Yitesh), which closes this year’s Chutzpah! Festival Nov. 9-10. (photo by Shendl Copitman)

“The final sketch in the show, ‘The Last Jew in Poland,’ is based on a real 1930s cabaret sketch of the same name that got Ararat, the famous Yiddish cabaret, closed down,” said creator Michael Wex of The Last Night at the Cabaret Yitesh (Di Letste Nakht Baym Yitesh), which plays at the Rothstein Theatre Nov. 9-10 as part of the Chutzpah! Festival.

“The sketch, however, hasn’t survived,” he continued. “Shimon Dzigan (of Dzigan and Shumacher), who was a member of the troupe, describes the general set-up of the piece in his autobiography, but doesn’t give many details, except to say that everybody involved expected to be arrested the next day (and was surprised not to be). I’ve tried to reconstruct something that would have bothered the censors of the 1930s as much as the original.

“‘Di Endekuvne,’ one of the genuine old songs in the show, was actually banned following its first performance,” he said.

The Last Night at the Cabaret Yitesh is set in Poland in the spring of 1938. With only one performance left before the censor’s office closes the cabaret, and with their visas secured to leave the country, the performers decide to put on a show of forbidden material and greatest hits.

The idea for The Last Night at the Cabaret Yitesh came from Andreas Schmitges of Germany’s Yiddish Summer Weimar, who called Wex with a request.

“Since 2019 was the 100th anniversary of the Weimar Republic, Yiddish Summer was planning a commemorative program and Andreas wanted to know if I could put together a Yiddish-language cabaret revue that would reflect the way Yiddish culture absorbed and was influenced by the zeitgeist of the Weimar era,” said Wex.

Michael Wex (photo by Zoe Gemelli)

Wex, who is Canadian, is an internationally recognized expert on Yiddish. He has many nonfiction books to his name, including Born to Kvetch: Yiddish Language and Culture in All of Its Moods, on the history of Yiddish, and Rhapsody in Schmaltz: Yiddish Food and Why We Can’t Stop Eating It. He’s also a translator, novelist, playwright, columnist, public speaker and performer. His creative process involves much research. For Schmitges’ proposed project, Wex first sought out surviving Yiddish cabaret material.

“I dove into scores of books, listened to even more recordings, in search of authentic material that would still resonate with a 21st-century audience,” he said. “Much of the older material just didn’t ‘read’ anymore: there were a lot of jokes about local politics and references to long-forgotten celebrities. There was fairly strong political censorship in interwar Poland, especially in the years following the Nazi takeover of Germany, which means that much of the surviving satirical material is pretty bland. I deliberately sought out lesser-known Yiddish cabaret songs, including at least one that was never recorded.

“My next resort was to see what was going on in non-Yiddish Polish culture at the time. I went through newspapers from the period to try to figure out how much international pop culture was available in 1920s and ’30s Poland and was delighted to find that Hollywood movies that would have played in Vancouver in, say, 1934, were playing in Warsaw at pretty much the same time, and that Louis Armstrong records were on sale in Warsaw record stores. I looked at the pop music charts: the most popular song in Poland in 1928 was ‘Ain’t She Sweet’ translated into Polish. This information widened the range of material that could plausibly be presented as being performed at the time and gave me the licence I needed to adapt and translate some well-known pop songs of the era into Yiddish.”

photo - Patrick Farrell in The Last Night at the Cabaret Yitesh (Di Letste Nakht Baym Yitesh), which is at the Rothstein Theatre Nov. 9-10 — Patrick Farrell in The Last Night at the Cabaret Yitesh (Di Letste Nakht Baym Yitesh), which is at the Rothstein Theatre Nov. 9-10. *(photo by Shendl Copitman)*

Wex wrote some songs and sketches to round out the show, then came up with the storyline that adds context: the performers whose cabaret is about to be closed, but who have ship tickets and visas to leave the country.

“Suddenly, they’re free to perform what they want to, not only what they’re allowed to,” said Wex, who also directs and acts in The Last Night at the Cabaret Yitesh.

The other people involved – Shane Baker (United States; co-director, performer), Patrick Farrell (US/Germany; original music, arrangements, piano, accordion, percussion), Regina Hopfgartner (Austria; vocals), Daniel Kahn (US/Germany; vocals) and Sasha Lurje (Latvia/Germany; vocals) – “are the people for whom the show was written,” Wex said. “It’s like an A-list of contemporary Yiddish performers and I recall telling Andreas that I wouldn’t do the show without them. It was my one diva moment – but I think it worked.”

The current incarnation of the show premièred at the Ashkenaz Festival in Toronto in 2022. It had changed so much from the 2019 Yiddish Summer Weimar production that, Wex said, “Weimar could almost be seen as a workshop.”

For Wex, giving audiences an idea of what 1938 Poland was like is important “because the whole world is looking more like 1938 Poland with every passing day.”

“Arts and culture,” he said, “including but not limited to comedy and music, is really the best way we have of trying to find a common ground from which to understand conflict, stand up to tragedy and, ultimately, seek out ways to mitigate or ameliorate the feelings and attitudes from which such conflicts and their accompanying tragedies have grown. As we see every day, shouting slogans might make us feel good and brave and involved but it does nothing to establish the common ground necessary to arrive at any kind of understanding with our opponents. Arts and culture, comedy and music – they’re all bulwarks against dehumanization.”

The Last Night at the Cabaret Yitesh is in Yiddish with English supertitles. For tickets, go to chutzpahfestival.com – where you’ll find the whole Chutzpah! lineup – or call 604-257-5145. The festival runs Nov. 1-10.

Klezcadia a June highlight

Veretski Pass – Joshua Horowitz, left, Cookie Segelstein and Stuart Brotman – will be joined by clarinetist Joel Rubin to present the world première of music from their new album, Makonovetsky’s Scion. (photo from Klezcadia)

Victoria will host Klezcadia, a hybrid klezmer and Yiddish culture festival showcasing a West Coast lineup of musical mastery and mavenry. Running June 4-9 in-person and online, there is no charge to attend.

According to festival director Laura Rosenberg, Klezcadia intends to position Victoria as a focal point for klezmer and Yiddish cultural tourism. In conjunction with the music, the six-day event will present classes, workshops, lectures, demonstrations and open rehearsals conducted by artists, language faculty and other guests.

“Klezcadia’s audiences can expect cutting-edge performances – including three world premières – by some of the world’s leading klezmer artists. Additionally, participants at any level of experience will have opportunities to attend classes, workshops and presentations by these same artists and their Yiddish-language colleagues,” Rosenberg told the Independent.

“Our guiding principle is to make the safe in-person attendance experience and the virtual attendance experience as equivalent and rich as current technology allows, as well as to give the same level of respect to all attendees,” she said.

Some of the featured artists will be Veretski Pass, a Bay Area trio that will perform with clarinetist Joel Rubin; Vancouver musician Geoff Berner; and Jeanette Lewicki in her new show as Pepi Litman, an early 20th-century Yiddish theatre drag star.

Comprised of Cookie Segelstein (violin), Joshua Horowitz (19th-century button accordion) and Stuart Brotman (bass), Veretski Pass offers a wide mix of East European influences. Reuniting with Rubin, they will present the world première of music from Makonovetsky’s Scion, their new album for the Borscht Beat label.

Berner, a singer, songwriter, accordionist, novelist and political activist, will stage the première of Second Fleet, the Yiddish song cycle he recently co-wrote with Canadian writer Michael Wex, author of the bestseller Born to Kvetch, a humorous and scholarly look at the Yiddish language.

Lewicki will transmit the spirit of Litman, the original “drag king” of Yiddish theatre, in another première. The Pepi Litman Project will examine the time when a groundbreaking performer literally “wore the pants,” led her own touring troupe, turned taverns into theatres, and tested societal boundaries with her satire. Litman toured Europe and reportedly North America, too, singing, in male garb, at spas, inns and private homes in small towns and large cities alike.

Some of the talks and workshops on offer at the festival are The Barry Sisters: America’s Yiddish Swingsters, with Andy Muchin, the host of the Sounds Jewish radio show on PRX; Yiddish Through Song Lyrics, with Seattle-based Marianne Tatom, a Yiddish teacher and klezmer musician; and Yiddish Through Conversation, with Sasha Berenstein, a multi-instrument musician and fellow with the Yiddish Book Centre’s Yiddish Pedagogy Program.

On June 5, Christina Crowder of the Klezmer Institute will speak about the Kiselgof-Makonovetsky Digital Manuscript Project, an international endeavour connecting participants with the work of important klezmer musicians from the late-19th and early-20th centuries.

The festival will take a walk on the vilde side on June 8 with what organizers describe as “musical mash-ups, klezmer-adjacent adventures, song parodies, unusual instruments” and offering the forecast “you never know what will pop up in this clearing in the klezmer/Yiddish jungle.” The evening will feature Seattle neo-vaudevillian Mai Li Pittard, as well as local klezmer bands Kvells Angels and the Klezbians. A new klezmer ensemble, Kvells Angels, gave a concert last fall at the University of Victoria in which they performed works previously unavailable to musicians. The Klezbians, meanwhile, are a well-known band of “chutzpah-licious” musicians, and the group goes back many a year.

Victoria’s Congregation Emanu-El, under whose auspices Klezcadia is being produced, will host the finale concert at the Cameron Bandshell, located in Beacon Hill Park. The closing concert will be a gift to the city in celebration of the congregation’s 160th anniversary.

Festival organizers have made a concentrated effort to ensure that all participants enjoy a safe experience. The hybrid environment, they stress, will prioritize the well-being of immunocompromised and high-risk participants, for both those onstage and in the audience. Indoor activities will include protective protocols, such as supplemental air purification, required masking and daily onsite COVID testing.

“Klezcadia was inspired by deep listening to an online meeting of immunocompromised and high-risk musicians and Yiddish-language enthusiasts in early 2023,” Rosenberg said. “During the first two years of the pandemic, they had finally felt included in the klezmer/Yiddish community, since everyone’s only option was to gather online.”

The same groups felt marginalized again when most festivals returned to unmasked, in-person formats. Through dialogue with these groups, Rosenberg realized, Victoria had a chance “to become a host community for an inclusive form of cultural tourism.”

Rosenberg said her 45-year arts administration career came in handy when building a music festival from the ground up; she had already done so with two other festivals. It has been a year’s worth of full-time work to plan the format, bring in the artists and teachers, scout venues, initiate community engagement and, importantly, raise the money.

Locals seem eager for the festival to start. “I am optimistic based on expressions of pride I have heard from Victoria residents, on how quickly Klezcadia’s in-person registration reached capacity and on the eagerness of local tourism-sector businesses to be included in our visitors’ guide,” Rosenberg said.

People from more than a dozen countries have signed up to view events streamed online.

For more information, visit klezcadia.org.

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

Galilee goes free, or the tetragrammaton only knows why a poem in Adeena Karasick’s Aerotomania: The Book of Lumenations is dedicated to me

According to the Babylonian Talmud (Eruvin 53b), the Hebrew-speakers of ancient Judea were so precise in their speech that they would never describe a cloak they were trying to sell as merely green, but would tell you instead that it was the colour of newly sprouted beet greens trailing along the ground. Galileans, on the other hand, were less punctilious:

“What do you mean when you say that Galileans are not careful in speaking? It is taught: There was a Galilean who used to go about [the marketplace] asking, ‘Who has amar? Who has amar?’ They said to him, ‘Stupid Galilean, do you mean khamor [donkey] to ride or khamar [wine] to drink? Amar [wool] to wear or imar [a lamb] to slaughter?’ And don’t forget the woman who wanted to say to her friend, ‘to-i de-okhlikh khalovo, come, I’ll give you some milk,’ only to have it come out as ‘tokhlikh lovya, may you be eaten by a lioness?’”

Where the ancient Galileans seem to have had no choice but to sound like themselves, Adeena Karasick has elaborated, over 14 volumes of poetry, a sort of deliberate neo-Galileanism that sometimes bridges, sometimes leaps and, on occasion, just fills the talmudic chasm between utterance and meaning in a way guaranteed to drive any artificial intelligence program out of its simulated mind. As she says in the poem “Talmudy Blues II” that is dedicated to me in her new collection, Aerotomania: The Book of Lumenations (Lavender Ink): “… sometimes the letters rule over her / and sometimes she rules over the letters / cleaving to the light of infinite possibility.” (p.31)

Is Karasick cleaving to the light as she rules over the letters? Or do the letters ruling her do the cleaving? Have her consonants been endowed with the naissances latentes of Rimbaud’s “Voyelles”? Or, less goyishly, is Karasick turning Galilean imprecision into an aesthetic approach rooted in the modalities of elementary-level reading instruction – reading silently and reading aloud, the absorption and subsequent re-citation of a written text – as enacted in the traditional East European Hebrew school known as kheyder?

The basic level of instruction had three phases:

1. Alef-beys, literally, alphabet, in which students learn to recognize the consonants that make up the Hebrew alphabet, along with the sundry diacritical marks that take the place of alphabetic vowels. There are 11 of the latter, representing five vowel sounds.

2. Halb-traf leyenen, reading half syllables. Each diacritic is run, as it were, through all 22 of the consonants. So, for example, syllables formed with the vowel komets would be learned by reciting, “Komets alef, o; komets beys, bo; komets giml, go” … and so on, to the end of the alphabet, when the student would go on to the next vowel: “Pasekh alef, a; pasekh beys, ba; pasekh giml, ga.”

3. Gants-traf leyenen, reading whole syllables, i.e., combining the individual letters or syllabograms into words.

Karasick’s traffic is with the last two, the kheyder basics supplemented by the graphemically focused mysticism of Sefer Yetsira and Abraham Abulafia as refracted through a contemporary sensibility and range of reference: “The letter is matter which moves matter … these words are closer than they appear.” (p.31)

We see halb-traf in full flight in, say, the coda to “Eicha,” the long poem with which Lumenations opens: “In the eros of aching ethos / The caesura screams – / Through cirque’elatory sequiturs, resistances” and continues: “Here, her / in mired err / whose scar is clear // Hear her/here/whose heir / wears err’s // shared prayer / where // care is rare….” (pp.26-27)

All you have to do is imagine a phrase like “hear her/here/” in unvocalized Hebrew, רה רה רה, and then read it as “hair hare hoar,” to realize that Karasick’s poetry, like the airplane she anatomizes in Aerotomania, constitutes “a hybridized syncretic space between cultures and idioms / where that interlingual complexity doesn’t close down but builds dialogue” (p.83), a dialogue rooted in, but quickly soaring beyond, quotidian phonemic reality.

There is an upward thrust to the book, from the dust and cracked earth of “Eicha,” the recasting of the biblical Lamentations (eicha means how, as in, “How sits the city solitary”), through the rising rabbinic commentary of “Talmudy Blues II,” a romp through ways of thought – words, that is – that now stand in place of the things destroyed: Jerusalem and the Temple (known in Hebrew as the Holy House).

An excursus on the idea of house follows, then “Checking In II,” i.e., checking into the Aerotomania flight by stowing readers’ cultural baggage for the duration of their stay on the plane. Having shaken off our dust (Isaiah 52:2), we emerge from the fog of our associations. Our lumen is come (Isaiah 60:1); we rise through the ether to embrace The Shining.

As the dedicatee of “Talmudy Blues II,” it behooves me to say something about the poem. A continuation of “Here Today Gone Gemara” from Karasick’s 2018 collection Checking In (Talonbooks), “Talmudy Blues II” consists in large part of elaborations of dialogue (and dialect) culled from our ongoing conversations about the ways in which the Talmud is reflected and refracted in Yiddish. “Carpe verbum,” reads the epigraph to “Here Today” – pluck that word like it’s a Sabbath chicken, clear away the excrescences and bite into the thing itself, ever mindful that the Hebrew davar means both word and thing, utterance and entity; my honeyed words solidified into raw material, ore for Adeena’s gold, one davar turned into another. But, as it says in the Talmud (Megillah 15), “Whoever credits a davar to the person who said it brings redemption to the world.”

Amen. Thou hast conquered, O neo-Galilean.

Michael Wex is author of three books on Yiddish, including Born to Kvetch. His songs have been recorded by such bands as the Klezmatics, and he has translated The Threepenny Opera from German into Yiddish. His one-person shows include Sex in Yiddish, Wie Gott in Paris and Gut Yontef, Yoko. I Just Wanna Jewify: The Yiddish Revenge on Wagner was recently revived (on Zoom) by the Ashkenaz Festival. His most recent major project, Baym Kabaret Yitesh, a recreation of a 1938 Warsaw Yiddish cabaret, was the surprise hit of Ashkenaz 2022 in Toronto. Bas Sheve, the long-lost Yiddish opera restored by Wex and composer Joshua Horowitz, was the not-so-surprising hit of the same festival. This book review was originally published in New Explorations: Studies in Culture & Communication, Vol. 3, no. 2 (2023).

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.