Image – Jewish Independent

Beth Hamidrash celebrates

Congregation Beth Hamidrash is celebrating its 50th year with a gala dinner to raise funds to better serve the congregation’s increasing number of young families. (photo from Beth Hamidrash)

“I want this to go on and on,” Albert Melul told the Independent about Congregation Beth Hamidrash. The longtime member said, “We have something precious. I don’t want it to be lost.”

Beth Hamidrash celebrates its 50th anniversary this year with a gala dinner March 31. Melul, who hails originally from Tangier, Morocco, has been involved with the congregation from the beginning. In the early 1960s, when he worked as program director at the Vancouver Jewish Community Centre, he was approached by some other members of the Sephardi community, who were looking for a space at the JCC for services. Melul helped the fledgling congregation get started.

In recent years, the synagogue has seen an increase in the number of young families attending services, with an average of 25 children present on Shabbat. In September 2018, the congregation hired Shira Puterman to lead their children and youth programming. The upcoming 50th jubilee celebration will raise money for the building of an expanded multi-purpose room to better serve these, and other, families.

The fundraising dinner, which will offer a door prize of two tickets to Israel, will include the induction of Beth Hamidrash’s new spiritual leader, Rabbi Shlomo Gabay, by the chief rabbi of the United Kingdom, Rabbi Ephraim Mirvis. Gabay, who most recently worked as a high school teacher in the Sephardi community of Gibraltar, came into his position in the community following the departure of Rabbi Ilan Acoca last year. (See jewishindependent.ca/looking-to-the-future.)

“This is a huge honour and privilege. Frankly, to have such a distinguished personality visit us is incredible,” Gabay told the Independent.

Induction is common in the United Kingdom but may not be familiar to Canadians. “It’s when a senior rabbi officially welcomes a newer rabbi into a leadership position,” said Gabay. “The joke around the synagogue is that I’m going to be knighted.”

Mirvis, formerly the chief rabbi of Ireland, is known for his close connection to the British Royal Family – he took Prince Charles on a trip to Israel last year – as well as for his interfaith work, and he has a reputation for moderation and diplomacy. When a scandal broke out in the United Kingdom last year after an Orthodox day school censored all mention of homosexual victims of the Holocaust in its textbooks, Mirvis supported an initiative to introduce LGBTQ+ education into Jewish schools in the United Kingdom. In 2012, he appointed Lauren Levin as Britain’s first Orthodox female halachic (Jewish law) adviser at Finchley Synagogue in London.

In addition to Mirvis, several prominent local politicians are expected to be in attendance at the 50th jubilee, including Janet Austin, the lieutenant governor of British Columbia.

Rabbi Shlomo Gabay will be inducted as part of Beth Hamidrash’s 50th anniversary celebrations on March 31. (photo from Beth Hamidrash)

Beth Hamidrash is Vancouver’s only Sephardi synagogue, keeping alive the Jewish traditions of the Sephardim, the Jewish community whose roots go back to the expulsion of Jews from Spain in 1492. The Sephardim (from the Hebrew word for Spain, Sefarad) immigrated to North Africa, the Ottoman Empire and other parts of Europe, where they sustained their unique liturgies, customs and musical culture for centuries. Beth Hamidrash carries on these traditions, passing them onto each new generation.

The first meeting of the Sephardi community of Greater Vancouver was held in the late 1960s, followed by the first organized Sephardi prayer service. In 1973, the Sephardic Congregation was incorporated as a society in British Columbia, with the goal of establishing a synagogue. In the late 1960s and early 1970s, High Holiday services were held in the kindergarten classroom of the previous building of the JCC at 41st Avenue and Oak Street, and in the Vancouver Talmud Torah gymnasium. During the 1970s, the congregation began holding regular services at 3231 Heather St., in what was then a dilapidated former synagogue, which the congregation renovated and made into the beautiful congregational space there today.

The synagogue website notes that Beth Hamidrash congregants hail from Iraq, Morocco, Algeria, Libya, Egypt, Syria, Lebanon, Yemen, Israel, India, France, China, Japan, the United Kingdom, South Africa, Zimbabwe, Russia, and many other parts of Canada and the world.

“What we have here is very special,” said Melul. “When you walk in the door here, you are a somebody. Our community is very warm, and we share each other’s sorrows and joys. When you visit this shul, someone will welcome you, someone will give you a siddur, someone will tell you when is Kiddish, someone will want to get to know you.”

“I landed in a spectacular community,” added Gabay. “The people are so kind and generous and forthcoming – they want to grow and they want to do. I really feel blessed to be here.”

To RSVP for the March 31 afternoon induction ceremony, email [email protected]. For tickets to the dinner gala, call the synagogue office at 604-872-4222 or email [email protected].

Matthew Gindin is a freelance journalist, writer and lecturer. He is Pacific correspondent for the CJN, writes regularly for the Forward, Tricycle and the Wisdom Daily, and has been published in Sojourners, Religion Dispatches and elsewhere. He can be found on Medium and Twitter.

Jewish fraternity at 20

Alpha Epsilon Pi chapter members with the fraternity’s “sweetheart,” Rachel Meadow. A “sweetheart” is elected every year at the chapter’s formal. (photo from AEPi)

The Vancouver chapter of Alpha Epsilon Pi, the traditionally Jewish fraternity, is 20 years old this year. So is Benny Stanislawski, the chapter’s president, who will help oversee the anniversary celebrations next month.

AEPi, as it is commonly known, was not the first Jewish fraternity at the University of British Columbia. Another frat operated on campus in years past but eventually disbanded. In the summer of 1999, the former longtime international executive director of the fraternity contacted Jeff Waldman, a student at UBC, suggesting he consider founding a chapter. A group of eight “founding fathers” came together and Adam Propp, a high school friend of Waldman, also a UBC student, was chosen as the first president, or “brother master,” as the role is called internally.

Hillel has been on the UBC campus since 1947 and provided an avenue for Jewish fellowship and involvement for many students. But the founders of the fraternity saw advantages in creating the male-only society.

“I think all of us had different reasons,” Propp recalled. “For me, to be able to have an impact on the university experience for young Jewish men like myself was important. When I look back at it, Hillel appealed to many, but not all. [The fraternity] just appealed to a different set of people who might not have been attracted to Hillel right away. It was a way to get more people more active and involved in a Jewish experience on campus, especially since UBC is such a commuter school.”

Propp became philosophical reflecting on the chapter’s founding two decades ago, noting that, in the next few years, some sons of the original brothers will likely be pledging to the fraternity. In recent days, Propp has been reconnecting with many of the original brothers, as they plan to gather for the 20th-anniversary celebration with a series of events over the weekend of April 5-7.

photo - Benny Stanislawski, president of the Vancouver chapter of Alpha Epsilon Pi — Benny Stanislawski, president of the Vancouver chapter of Alpha Epsilon Pi. *(photo from AEPi)*

The relationship between AEPi and Hillel differs from campus to campus and, at UBC, it has generally been extremely strong, sometimes highly symbiotic.

Gabe Meranda, who was executive director of the Vancouver Hillel Foundation at the time the chapter formed, admits he had some trepidation about a Jewish fraternity, not having had any experience with what is called “the Greek system.”

“I was skeptical at first, since I was cautious about fraternities. But these first few guys were so excited about launching the chapter in B.C. that I decided I must get behind it,” Meranda recalled. “I remember the night of their first party at Hillel. I didn’t know what to expect, but all seems to have gone well and it’s taken off from there.”

The chapter made Meranda an honorary brother and he still proudly has the pin, he said.

While fraternities have a reputation for certain excesses, Canadian campuses tend to be a little more low-key, in part because the lower drinking age in Canada means access to booze is not a motivator to joining a frat. What is less obvious to the general public are programs of leadership development, philanthropic ventures and, in the case of AEPi, Jewish cultural activities and, to varying extents, Israel programming or education.

Stanislawski stressed that AEPi has no political or religious orientation. Jewish young men, as well as non-Jewish ones who want to pledge – of which there are usually a few each year – are welcome without concern for their religious affiliation (or lack of affiliation) or their approach to Zionism.

The chapter’s main annual philanthropic event is Hoops 4 Health, an all-day, three-on-three basketball tournament that takes place this year on March 31 at War Memorial Gym. The chapter’s charity beneficiary used to be different health causes, but the Heart and Stroke Foundation has a special meaning to the brothers. A couple of years ago, an AEPi member, Nitai Weinberg, suffered a stroke at the age of 18. Now fully recovered, he and his brothers raised $8,000 for the cause last year, and this year have significantly upped their goal to $25,000.

As an example of the range of programs, the chapter recently hosted a presentation on sexual assault awareness, led by the UBC Mental Health Network. They also host “Greek Shabbats” at Hillel House, where members of all the university’s fraternities are invited.

“The Greek community is fairly large and it’s also influential,” said Lenny Tabakman, who was master brother last year and is chairing the organizing committee for the anniversary celebration. “A lot of people that join fraternities and sororities are leaders in their own community. The fact that they mingle with us and we get to meet the leaders of other communities, I feel like it’s beneficial for the Jewish community at large because we’re basically creating allies of the community by bringing them in. They probably would never even enter Hillel and, every week, we have people who are not Jewish come into Hillel and hang out with AEPi.”

photo - Lenny Tabakman is chairing the organizing committee for AEPi’s 20th anniversary celebration — Lenny Tabakman is chairing the organizing committee for AEPi’s 20th anniversary celebration. *(photo from AEPi)*

These connections are helpful, Tabakman said, when issues like anti-Israel incitement happens on campus and allies are needed to counter them.

Tabakman sees fraternities in general as a place to nurture leadership.

“A fraternity is kind of like a learning laboratory where you get to practise your leadership skills and your teamwork skills,” he said. “It’s kind of a safe place to fail. It prepares you for the business world.”

AEPi has an added mission, agreed Tabakman and Stanislawski: “Developing leaders for the Jewish community.”

Founded in 1913, the fraternity now serves 190 campuses in seven countries; it claims 90,000 living alumni. The UBC branch, officially called the Beta Chi chapter, welcomes students from Langara, Simon Fraser, Emily Carr, Capilano and all post-secondary institutions in the region. The chapter usually has 40-plus brothers in any given year, peaking last year at 49.

“I’d love to see the organization get into the 70s,” said Stanislawski. But, given the limited number of Jewish students on campus, slow, steady growth is the realistic goal.

Samuel Heller, the current executive director of Hillel at UBC, congratulated the fraternity and thanked them for their contributions.

“Both the Hillel community and wider campus community are enriched by this brotherhood of young men who exemplify leadership and champion Jewish values,” said Heller. “Brothers of AEPi are a positive force on campus … by creating a group of young leaders who are changing the face of UBC and who, in turn, will change the world.”

Pat Johnson is an honorary brother of Alpha Epsilon Pi Beta Chi chapter.

The dangers of drones

An image of drones filling the sky from Reva Stone’s Falling. (photo from Reva Stone)

Multi-awarding-winning Winnipeg artist Reva Stone researched drones for three years and then began creating art to share some of what she had learned about how the technology affects our lives. The exhibit erasure, which comes from that research, features three works – Falling, Atomic Bomb and Erase. It is on display at the University of Manitoba’s School of Art Gallery until April 26.

“I’m very much an observer of what’s going on with new technologies, so when I saw the impact that UAVs [unmanned aerial vehicles] were starting to have – especially with war and changing the nature of war – I applied for and got a Canada Council [for the Arts] grant to do a lot of research and reading about what actually is happening,” Stone told the Independent.

She went so far as to get two quadcopters, to understand what they really sounded like, and hoping to use them in her art, which she has.

“I was working on this, and then I started thinking about our skies filling up with these commercial and militarized drones and how they were basically machines … that could fall out of the sky … that could crash into each other, that could bring down an aircraft. We were filling up our skies,” she said. “And then, about two years ago, I was reading and realized that we were now targeting not other countries, but targeting humans.”

photo - Artist Reva Stone’s exhibit erasure warns about the use of drones in our society — Artist Reva Stone’s exhibit erasure warns about the use of drones in our society. *(photo from Reva Stone)*

Stone ended up making five or six individual pieces that deal with different aspects of the use of drones, but relate to one another. Depending on the exhibition venue, she decides which ones will work best together in a particular space.

Originally, drones were developed for spying purposes for the military. Later versions were outfitted with weapons for protection and assault. More recently, commercial drones have been developed. Now, anyone can buy a drone for as little as $20. This easy accessibility is challenging our society, contends Stone, causing hazards to planes in airports, affecting people at parks and disrupting the peace.

“Drones are becoming these things that fly in the air that have no human controllers … that are almost autonomous,” she said.

Stone often uses computers, movies, motors and speakers to help fully immerse visitors in her art pieces.

The work Falling, she said, “is an animated video that I made that has to do with what I see as a very new future, wherein UAVs are ubiquitous, because of civilian, military, commercial and private use.

“It’s almost slow motion or balletic on a massive screen,” she said. “There’s constant falling out of the skies, sometimes flipping as they fall. Sometimes, there’s a drone that has exploded in the sky … sometimes, small and far away and, sometimes, they’re so big when they fall through the sky that they look almost life-size and you’ll have to back away from the screen … that will be the feeling you get. Then, sometimes, there are these little windows that open up and you look through, into another world, and that world is more about what we’re fighting about – the fact that we are actually using these to make war. Other than that, some of them are commercial, some are cute, some are scary looking … and it’s like a continuous rain coming down.”

Atomic Bomb is also a film.

“I started with an early atomic bomb explosion,” said Stone. “It was a 30-second film and I made it into an almost 20-minute video. I really slowed it down and altered the time to give the impression that the person in the exhibition space is looking at a still image caught in time. I show this video together with texts that I found speak to the history of the use of radio-controlled airplanes and UAVs, and to longheld ideas about collateral damage – the relationship between … the use of atomic bombs and the use of drones and collateral damage, which, to me, is a huge issue with the use of drones as military.”

photo - A single frame from Reva Stone’s Atomic Bomb video piece — A single frame from Reva Stone’s Atomic Bomb video piece. *(photo from Reva Stone)*

The first text is from Harry Truman, the American president who made the decision in the Second World War to use the bomb, and it reads: “The world will note that the first atomic bomb was dropped on Hiroshima, a military base. That was because we wished, in this first attack, to avoid, insofar as possible, the killing of civilians.”

The next one is from John Brennan, Central Intelligence Agency director from 2013 to 2017: “There hasn’t been a single collateral death because of the exceptional proficiency, precision of the capabilities we’ve been able to develop.”

According to Stone, “This is just bullshit. But this is part of the cleaning up of the media presentation of all these ideas and all these things I’ve been researching, that I’ve been noticing going on over time. And, it has actually made me change the name of the work. I was going to call all three of them a totally different name. Recently, maybe a month ago, I changed it to erasure because of the erasure of people, the erasure of a lot of critical dialogue that’s been happening since I started researching in 2015 … how we are mediated, what we are presented with as a culture. The info is so mediated by how it’s reported, and if it’s reported.”

Stone wants “her audience to consider how the capabilities of such technology may be turned against citizens and how governments might, and do, get away with employing them in the name of patriotism in ways that ultimately test the ethical and moral values of its citizenry,” notes the exhibit description. “With news cycles moving so rapidly, the reports of deadly events quickly fall from memory, seemingly erased from public consciousness.”

The third piece, Erase, is interactive. Stone said it is based on what, in her view, the Obama administration practised – the targeting of individuals based on algorithms, mostly guilt by association.

“With this one, I’m actually replicating the procedure,” she said. “I have my two quadcopters that are doing the surveillance and capturing people in the exhibition space, unbeknownst to them. Then, they get captured and saved.

“Then, it’s a process that goes on, that they get played back. And you begin to realize that you’re under surveillance, the people in the space. And, every so often, a target comes up over one of them, one of the captured images. It’s really intense and an explosion occurs, and that person actually comes out of my captured list. That person will never show again. They’ve been erased.”

The exhibit erasure opened Feb. 7. For more information about Stone and her work, visit revastone.ca.

Rebeca Kuropatwa is a Winnipeg freelance writer.

Things aren’t a person

Camera in model, from 306 Hollywood. (photo from El Tigre Productions)

Annette Ontell, the New Jersey grandmother at the centre of the glorified home movie 306 Hollywood, lived an ordinary middle-class Jewish existence for six decades at that Newark address.

She didn’t come close to the achievements of RBG heroine Ruth Bader Ginsburg, nor the fame (and heartache) of Love, Gilda star Gilda Radner. Nor did Ontell have the tabloid TV highs and lows of the separated brothers in Three Identical Strangers, yet another documentary with Jewish protagonists that made waves at the box office last year.

Of course, one needn’t get her name in the paper or his face on a screen to live a productive, satisfying life. More to the point, plenty of wonderful and profound documentaries have been made about the small-scale triumphs and travails of everyday people. 306 Hollywood, which received a brief theatrical release in 2018 and airs on PBS’s POV series in the coming weeks, is not one of them.

Siblings Elan and Jonathan Bogarin affect an imaginative and stylized “dig” into their dear grandmother’s objects and possessions to the accompaniment of a kinda whimsical, kinda wistful indie-film score. Their strategy yields a parade of eye-catching images and bizarre set pieces that, individually and collectively, provide no insight into this, or any, American life.

The upshot is that 306 Hollywood combines the lacquered sheen and pastel palette of long-form television with the naiveté-masquerading-as-perceptiveness of a film-school project.

photo - The directors’ grandmother’s silhouette, from their film 306 Hollywood — The directors’ grandmother’s silhouette, from their film 306 Hollywood. *(photo from El Tigre Productions)*

To be sure, the filmmakers’ goals, in addition to crafting a work of commercial art, are worthwhile: to uncover and grasp the meaning in a person’s life, and to honour and preserve the memory of a beloved relative whom they visited (with their mother) almost every Sunday for 30 years.

The Bogarins opt to catalogue and focus on the massive detritus – from radios and vacuum cleaners to rubber bands and fashion magazine clippings – that Ontell amassed over the 63 years she resided in the house, most of it spent with her husband. (Her brother lived with them, but he died in his late 40s.)

Ontell had a career as a dress designer and dressmaker, but the creative person she once was doesn’t emerge in the prosaic interviews that her grandchildren filmed with her over the last decade of her life. Instead, to conjure a person (and a personality) from her inanimate objects, the filmmakers enlist a “fashion conservator.” To invoke the metaphysical resonances of time and memory, they turn to physicist and author Alan Lightman.

Perhaps in a nod to Ontell’s artistic impulses, the Bogarins stage a fashion show with her original evening dresses in the yard at 306 Hollywood, and a ballet of young women modeling mid-20th-century lingerie. These sequences are visually impressive but self-indulgent. They aren’t as misguided, however, as the excruciatingly long home-movie scene of the filmmakers’ mother cajoling Ontell (her mother) into disrobing and donning one of her vintage dresses from the 1950s.

The pained presence of an older woman prodded into revisiting the past through her garments does have one benefit: it frees 306 Hollywood from the bonds of hagiography. But none of this gets us any closer to appreciating Ontell, or any emblematic Jewish mother, or to gleaning significance from the connection that human beings have to their possessions. The filmmakers’ choices are so showily ineffective, in fact, that we only rarely reflect on the emotions triggered by the absence and memories of our own forebears.

The most gifted documentary filmmaker I know at transforming the personal into the universal and the banal into the profound is Alan Berliner. The Jewish New Yorker’s masterful family portraits Intimate Stranger (1991) and Nobody’s Business (1996) can be streamed for free through Kanopy, accessible with many public library cards.

306 Hollywood airs March 30, 11 p.m., on KCTS 9 and on WTVS April 4 (check local listings for the time).

Michael Fox is a writer and film critic living in San Francisco.

Gotta Sing! 2019 registration

(photo from JCCGV)

For the past 24 summers, Gotta Sing! Gotta Dance! has attracted hundreds of enthusiastic and talented participants from throughout Canada, the United States and Israel, many of whom have gone on to successful careers in the performing arts. The deadline is April 1 to apply for this summer’s sessions, which take place at the Jewish Community Centre of Greater Vancouver July 2-25 and Aug. 6-29.

The director and creator of Gotta Sing! Gotta Dance! is Perry Ehrlich, who received an Ovation Award and the Canadian Bar Association’s Community Service Award (acknowledging his dedication to working with children and musical theatre). A composer, pianist, teacher, arranger, producer, adjudicator, writer and talent coordinator, Ehrlich also directs ShowStoppers performance troupe (theimpresario.ca).

Gotta Sing! Gotta Dance! is taught by a faculty of professional instructors, each working in his or her respective field, including musical directors Wendy Bross Stuart and Diane Speirs; director Chris McGregor; choreographers Anna Kuman, Jason Franco, Keri Minty and Meghan Anderssen; acting coach Amanda Testini; and Mariana Munoz and Charlie Weaver, set construction and costume co-ordination.

Peter Birnie, former theatre critic for the Vancouver Sun, commented that the faculty members “are all teaching in a carefully choreographed nesting of studies that takes place all over the JCC and culminates in a big, brassy show. I try to attend every year, and always come away just as thrilled as the parents and families with the level of talent on display. It is about the joy that comes from singing your lungs out and dancing your hooves off.”

This year’s final production in each session – called Shamilton – will take place in the Rothstein Theatre and feature an original script and a broad repertoire of music from Broadway and movie musicals.

The Finishing School will again be offered for serious musical theatre students attending Gotta Sing! Gotta Dance! and it will feature approximately 10 sessions from 3:15 to 5:15 p.m., after the regular program, which will run 9 a.m. to 3 p.m. Finishing School students will receive instruction in audition technique, presentation of songs and scene work, and will participate in intensive dance workshops and meet with well-known professionals in the theatre community.

The Boot Camp Dance – for those either new to dance or wanting to refine their skills – will also be offered.

The cost to attend Gotta Sing! Gotta Dance! is $750 for JCCGV members and $850 for non-members. Scholarships are available through the Babe Oreck Memorial Fund, the Phyliss and Irving Snider Foundation, and others for those with financial need.

For more information and registration, visit jccgv.com/performing-arts/gotta-sing-gotta-dance.

Adding to Einstein Archives

A newly acquired photograph of Albert Einstein, left, with his lifelong friend Michele Besso. (HU photo courtesy Ashernet)

photo - Albert Einstein, right, with his grandson Bernhard, centre, and son, Hans Albert — Albert Einstein, right, with his grandson Bernhard, centre, and son, Hans Albert. *(HU photo courtesy Ashernet)*

One hundred and ten pages of Albert Einstein’s handwritten notes and other documents and photos have been added to the Albert Einstein Archives at the Hebrew University in Jerusalem. This latest material (dating mainly from 1944 to 1948) was acquired by the university thanks to a donation by the Crown-Goodman Foundation, which bought it for an undisclosed sum from Gary Berger, a North Carolina doctor. After Einstein’s death in 1955, most of his more than 80,000 scientific and personal papers were left to the Hebrew University. Einstein, who was one of the founders of the university and a great supporter of the Jewish state, was invited to become president of Israel, but declined the offer, implying that he did not feel worthy of such honour.

Why Purim costumes?

Purim in Tel Aviv last year. (photo by Igor Zed)

What is the origin of wearing costumes on Purim? One theory relates to the fact that the Jews in the Purim story live in the galut (“exile,” outside of Israel). Haman says to the king: “There is a certain people scattered abroad and dispersed among the peoples in all the provinces of thy kingdom and their laws are diverse from those of every people; neither they keep the king’s laws.” One might say, these Jews in Shushan are the minority in a Christian country who disguise themselves or mask their identity by trying to dress like the majority and blend in.

Probably the closest explanation as to why we wear costumes is because Esther masqueraded as a non-Jew and dressed up as a queen. Esther also hid her assertiveness and her strength – and her Jewish identity – until she had no other choice. One source has said wearing costumes is to imitate the costume parties of the court mentioned in the story.

Another source says traditional Jews believe that G-d is hidden behind all the events of the Megillah. Although there is no mention of G-d in the Book of Esther, we believe he had a hand in the saving of the people. In a sense, he was masked or disguised and rabbis referred to G-d’s role as “hester panim,” or “hiding of the face,” which is also said to be a play on the words Megillat Hester, rather than the Hebrew name for the Book of Esther, Megillat Esther.

Philosophers and scriptural commentators believe that G-d’s name is omitted to emphasize the very point that G-d remained hidden throughout the story, but was nonetheless present and played a large role in its outcome. Megillat Esther may show that, although G-d may not be conspicuously present at times, he nevertheless plays an important role in everyone’s lives and that of the Jewish nation. In remembrance of how G-d remained hidden throughout the Purim miracle, Jews dress up on the holiday and many hide their faces.

Another explanation is in the Book of Esther’s eighth chapter, verse 17: “And many from among the peoples of the land became Jews, for the fear of the Jews was fallen upon them.” Non-Jews converted or perhaps pretended or disguised themselves as Jews for fear of Haman’s fate befalling them.

We do know for sure that the Book of Esther and the Talmud never discuss Purim costumes.

One source says the costumes and masks originated at the end of the 15th century among Italian Jews, influenced by the country’s carnivals. From there, the custom spread across Europe and to other countries where Jews lived, except perhaps the Far East.

Another source contends the custom could have originated in the medieval period in Germany and was an imitation of Christian carnivals, which took place around the same season.

Judah ben Eliezer ha-Levi Minz was a Venetian codifier of the 15th century, known as the “Mahari Minz”; he died in Padua, Italy, in 1508. In his responsa No. 17, quoted by Moses Isserles, the 16th-century rabbi and talmudist, in his book Orach Chayim (696:8), the Mahari Minz expresses the opinion that, since the purpose of the masquerade is only merrymaking, it should not be considered a transgression of the biblical law regarding dress, but he does not provide the origin of wearing Purim costumes. Furthermore, he permitted men and women to wear clothing of the opposite gender, even though this violates the biblical prohibition of cross-dressing (Deuteronomy 22:5). Some have speculated that it commemorates when Mordechai was dressed in regal clothing and escorted by Haman (Esther 6:11), a clear turning point in the plot of the story.

Although some authorities issued prohibitions against the custom of dressing up in costumes, people did not heed them and the more lenient view prevailed. Jews of the Middle East, however, did not start this custom until the 19th century.

Whatever its origins, dressing in costumes has been a tradition for many a Purim now, for adults and children alike. Purim sameach!

Sybil Kaplan is a journalist, lecturer, book reviewer and food writer in Jerusalem. She created and leads the weekly English-language Shuk Walks in Machane Yehuda, she has compiled and edited nine kosher cookbooks, and is the author of Witness to History: Ten Years as a Woman Journalist in Israel.

Happy Purim 2019!!

אנדרו שייר קורא לג’סטין טרודו להתפטר

(Andre Forget/OLO) ראש האופוזיציה, אנדרו שייר

ראש ממשלת קנדה, ג’סטין טרודו, הסתבך ולא ברור כלל אם יצליח להיבחר שוב בבחירות הכלליות שיערכו בחודש אוקטובר. זאת לאור טענת שרת המשפטים והיועצת המשפטית לשעבר, ג’ודי ווילסון-רייבולד, כי הוא, אנשי לשכתו ושר האוצר, ביל מורנאו, הפעילו עליה לחץ להתערב הליך המשפטי נגד חברת הבנייה וההנדסה אס.אן.סי לאוולין החשודה בשחיתות, ולמנוע את העמדתה לדין. החברה נחשבת למהגדולות בעולם והמטה שלה ממוקם בקוויבק.

ראש האופוזיציה, אנדרו שייר, מהמפלגה השמרנית קרא לטרודו להתפטר לאלתר בטענה “שאיבד את סמכותו המוסרית לשלוט”. שייר ביקש גם מהמשטרה הפדרלית לחקור את הפרשה. שייר שכנראה אין לו מה למכור לבוחריו השמרנים לקראת הבחירות הקרובות, ממשיך לטעון בכל הזדמנות כי על ראש ממשלה להתפטר. מרבית הפרשנים בתחום לא קונים את הטענות של שייר.

טרודו מצידו ממשיך להסביר: “אני והצוות שלי פעלנו בצורה הולמת ומקצועית. לחלוטין אינני מסכים עם תיאור האירועים האלה מצד היועצת המשפטית לשעבר”. טרודו הוסיף כי הוא ואנשיו לא עברו על החוק ואין מקום להמשיך ולדון בנושא. בכל מקרה הבוחר יאמר את דברו בבחירות שיערכו בקרוב.

ווילסון-רייבולד הופיעה לפני כשבועיים בפני ועדת המשפטים של הפרלמנט, שטחה את טענותיה וענתה לשאלות במשך שעות, כשהאירוע הועבר בשידור ישיר בטלוויזיה. שרת המשפטים והיועצת המשפטית של טרודו לשעבר, טענה כי הוא, אנשי לשכתו ושר האוצר, הפעילו עליה לחץ בלתי פוסק במשך כארבעה חודשים שנבע ממניעים פוליטיים, להתערב בהליך המשפטי נגד אס.אן.סי לאוולין החשודה בשיחוד אנשי ממשל בלוב, כדי לזכות בחוזים ממשלתיים. הניסיונות להשפיעה על דעתה כיועצת משפטית ועל התביעה העצמאית בקנדה, נועדו למנוע את העמדת החברה וראשיה לדין ולבקש לפטור אותה בקנס כספי בלבד. זאת כדי למנוע את החלטת הנהלת החברה להעביר את משרדיה למחוץ לקנדה, דבר שיגרום לפיטורי אלפי עובדים. טרודו שחושש שמהלך כזה יעיב על ההצלחה הכלכלית של ממשלתו הזכיר לווילסון-רייבולד לטענתה, כי גם אזור הבחירה שלו נמצא בקוויבק. עם זאת ווילסון-רייבולד טענה מפורשות כי טרודו ואנשיו לא עברו על החוק. אך למפתיע בסוגיה זו האופוזיציה שמאמינה לכל מילה שלה, ממשיכה לטעון כי טרודו עבר על החוק? שרת המשפטית לשעבר בשלה אך את האופוזיציה זה לא מעניין.

לאור התנגדותה להתערב בהליך המשפטי בעניין חברת הבנייה, טוענת עוד ווילסון-רייבולד, כי בינואר טרודו העביר אותה במתפקידה לתיק זוטר (השרה לענייני יוצאי הצבא), ולבסוף היא התפטרה מהממשלה במהלך פברואר.

טרודו דוחה גם את הטענה הזו של שרת המשפטי לשעבר שלו ומציין, כי היא הועברה לתפקיד אחר רק בגלל שהשר לענייני יוצא הצבא פרש מהממשלה. אחרת היא הייתה נשארת בתפקידה עד היום עד כמה שזה היה תלוי בו.

מעניין שווילסון-רייבולד טענה בחקירתה כי אולי יש מקום להפריד בין התפקידים שר המשפטים בממשלת קנדה והיועץ המשפטי לממשלה, כיוון שכפל התפקידים יוצר בעייה כמו זו של סוגיית אס.אן.סי לאוולין. אך מדוע היא לא חשבה על כך בטרם מונתה לתפקיד הכפול? או בזמן שהחלה למלא אותו?

יועצו הבכיר של טרודו לשעבר, ג’רלד באטס, שהתפטר מתפקידו לאור הפרשה, נחקר אף הוא בוועדת המשפטים של הפרלמנט. הוא דחה את טענותיה של שרת המשפטים לשעבר. לדבריו שתי פגישות או שתי שיחות טלפון בחודש בנושא אס.אן.סי לאוולין, לא היווו שום לחץ על ווילסון-רייבולד.

Using absurdity to illuminate

Left to right are GOLDRAUSCH actors Tebo Nzeku, Gray Clark, Karthik Kadam, Matthew Rhodes and Hannah Everett. (photo by Javier Sotres)

GOLDRAUSCH is described as “a comedy with music that journeys through film director Oskar’s efforts to make a film about the man who started the Gold Rush Fever of 1848: the ‘Emperor of California.’ Mixed with classic country and Mexican banda songs, GOLDRAUSCH is the story of rampant jealousy, greed and ambition run amok, as dueling actors fight for their close-ups in Oskar’s magnum opus.”

The University of British Columbia’s theatre and film department presents GOLDRAUSCH at Frederic Wood Theatre March 14-30.

“GOLDRAUSCH follows the story of director Oskar, creating a film on Johann Augustus Sutter, based on the book Gold by Blaise Cendrars,” explained Hannah Everett, who plays the role of Marlene in the UBC production. “Sutter was a German-born colonizer who came to America, set up a farm for himself and became rich – until the gold rush of the 1850s, which destroyed the land he had taken.

“The playwright, Guillermo Calderón, is commenting on how Blaise Cendrar’s Gold is an exaggerated and fictionalized version of Sutter’s life that glosses over his problematic character, and the history surrounding the land and people during this time,” she said. “The play begins months into the shoot when Oskar realizes his film has become boring, and lacking ‘soul.’ He decides to bring in two new actors and shoot a porn scene, much to the other actors’ surprise.”

Marlene is one of the new actors.

“Marlene has been hired by Oskar to perform a porn scene and body double the leading lady, Greta, on set,” said Everett. “Marlene represents Oskar’s ‘fresh start’ to the film, in order to make it more interesting. Throughout the play, we learn she contracted hepatitis from the porn industry and is incredibly poor. She needs this job to make money and survive, which sends Greta into a panic as she learns Marlene is her replacement.”

Appropriately for a play about a film, GOLDRAUSCH is a multimedia work.

“GOLDRAUSCH features real cameras and sound equipment that will project film scenes onto the stage,” said Everett. “We are calling it a ‘meta-theatrical comedy with music’ and, in a way that is somewhat Brechtian, the play often breaks into song and dance, with karaoke tracks projected onto screens. In a final scene, where Oskar and the four actors interview about their film, it becomes clear that these songs are included in the film soundtrack. The multimedia layers to this piece create an effect that continues to take the audiences out of these different worlds of the past and the present, and remind them that they are watching a performance – and that not everything is always as it seems.”

Calderón, a Chilean playwright, wrote GOLDRAUSCH in 2017, “in a continuing time of political upheaval and uncertainty, particularly in United States,” said Everett. “Johannes Augustus Sutter came to America in the 1800s, stole land and enslaved indigenous peoples. His story, Calderón highlights, is unfortunately still incredibly relevant.

“Calderón asks us to think about land ownership, freedom and immigration. He shows us how history repeats itself,” she said. “The play satirizes Cendrar’s book, Gold, demonstrating how we become numb and alienate ourselves from people and politics that attempt to take away basic human rights. This is seen in Oskar’s film, and the ego and greed between the four actors, all struggling for the spotlight…. Calderón has decided to illuminate these issues in a way that is absurd and entertaining, as a way to get audiences to think more actively than perhaps watching or reading a news story.”

Hannah Everett plays the role of the model, Marlene, in UBC Theatre’s production of GOLDRAUSCH. (photo from UBC)

Born in White Rock, Everett grew up in Tsawwassen. She got into acting through various avenues, including Gateway Theatre and high school productions. During a three-year internship with the Riotous Youth program at Bard on the Beach, she helped create A Shakesperience and Shakespeare Unhinged. She also participated in the InTune Young Company Intensive with Touchstone Theatre and with the Stratford Theatre Performance Intensive.

In the course of her university studies, Everett has performed in many theatre and some film productions at UBC, as well as in other theatre productions. In her fourth and final year of UBC’s bachelor of fine arts acting program, Everett graduates in May.

“I’m hoping to get a film agent and, ideally, work in both film and theatre,” she said of what comes next. “I am keen to explore more devised performance, Shakespeare and the contemporary Canadian theatre scene. What I love about this line of work is that it scares me and challenges me to always keep learning, whatever the future may hold.”

Everett’s love of theatre came from her maternal grandmother, Irene N. Watts, who most recently has published Seeking Refuge (2016), a graphic novel, with Kathryn E. Shoemaker, which is a sequel to the graphic novel version of Goodbye Marianne. (See jewishindependent.ca/meet-award-winning-artists.)

“Her most well-known trilogy includes the novel (adapted from the play) Goodbye Marianne, which draws from her experience as a child Holocaust survivor, arriving in England via the Kindertransport from Germany,” said Everett of her grandmother. “In England, she became a teacher and worked in drama education before coming over to Canada in 1968, where she continued working in children’s theatre, acting and directing.

“Her love for theatre trickled down to me, and I was incredibly fortunate to be taken to numerous productions over the years, and given seemingly endless supplies of plays and books. Our shared passion has created such a cherished and close relationship and, as Judaism has had such a deep effect on her life and storytelling, I am always eager to share and learn her stories. Coming from both Jewish and non-Jewish heritage on my father’s side, I have learned to appreciate and be open to different views of the world, especially when it comes to making art.”

Tickets for GOLDRAUSCH – which contains adult themes and language – can be purchased from ubctheatretickets.com or 604-822-2678.