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A light for the nations

Linor Attias, deputy director of international emergency operations for United Hatzalah, inspired Raquel Esrock’s bat mitzvah project: Maple Syrup and Mitzvahs. (photo by Robin Esrock)

In a critical medical emergency, life and death depend on the help one receives and how quickly it arrives. By the time an ambulance shows up, it can be too late to stabilize the victim of a heart attack, apply a life-saving torniquet or deliver CPR. However, United Hatzalah, a rapid medical response service in Israel, can get trained medics on site within 90 seconds of an emergency call.

Linor Attias, the deputy director of international emergency operations for United Hatzalah, addressed a small fundraiser at a living room in West Vancouver on Dec. 2. She wore the orange vest of a first responder, shared stories of everyday heroes, tearing up over the tragedy of Oct. 7. As the emcee for the event, I knew there was much to discuss, but I started with a simple fact. Founded in Jerusalem in 2006, United Hatzalah has responded to more than seven million medical emergencies and saved the lives of tens of thousands of people.

Supporting both patients and Magen David Adom, UH has become an integral part of the Israeli cultural fabric. A lifesaving group of more than 8,000 unpaid volunteers, including Jews, Arabs, Druze and Christians, treat everyone and anyone in need, without charging a penny.

After a six-month training period and on-call internship, volunteers use an app that geo-locates their proximity to a medical emergency. When someone calls one of Israel’s three emergency numbers for help (instead of one number, 911, for all emergencies, Israel has different numbers for medical, fire or police) United Hatzalah’s system immediately locates the nearest five volunteers. It pings their app, and they can be on site in three minutes with a fully stocked medic bag. The paramedic volunteer stabilizes the patient, performs life-saving first-aid if needed, and remains until an ambulance arrives.

photo - United Hatzalah’s volunteer paramedics can be on site within 90 seconds of an emergency call — United Hatzalah’s volunteer paramedics can be on site within 90 seconds of an emergency call. *(photo from UH)*

“It’s not just about the person who is not well or injured,” explained Attias. “Everyone surrounding them feels calm and safe knowing someone is handling the situation. When the ambulance arrives, they take over.”

If a volunteer happens to be at work that day, they could be back at their desk within 20 minutes.

Volunteers sign up from all backgrounds: rich, poor, religious, secular, shopkeepers, teachers, accountants, surfers, mechanics, students, and retired grandparents, too. If they’re unavailable, they simply toggle a switch in the app and the algorithm automatically moves to the next volunteer.

UH volunteers are registered, well-trained and passionate to help. Like Attias, many found their way to UH after being impacted personally by a medical emergency. In her case, it was hearing how an ambulance showed up too late to save her uncle, the victim of a bombing attack. For an Arab volunteer, it was the Jewish UH volunteer who saved his father during a heart attack. Two books have been published filled with incredible stories of universal compassion and head-scratching rescues.

At UH’s headquarters in Jerusalem, there are Haredi staff and volunteers working alongside Muslim and secular colleagues. Attias also has directed UH volunteer groups to disasters abroad, rushing to underserved areas after earthquakes in Morocco and Türkiye.

“They hate Israelis in Türkiye,” she told those gathered. “Then they see the Israeli flag on the vest of the rescue worker saving their life, and it’s ‘thank you Israel, thank you!’ We saved 19 people from the rubble.” She still keeps in touch with the family of a 7-year-old girl she saved in Türkiye; the father sent messages of support on Oct. 8.

Attias suffers post-traumatic stress disorder from what she witnessed during the Hamas attack in 2023. She was on the ground, a first responder, her own life at risk; other UH volunteers were murdered and kidnapped. She was part of a UH team that set up critical triage camps to treat the wounded. When a UH volunteer livestreamed the number of bodies, Attias could not believe it was real. Today, UH operates a psycho-trauma unit to help volunteers and the public deal with what they experienced that day.

Attias spoke about how United Hatzalah is preparing for the next Oct. 7. United Hatzalah plans to be better prepared to save more lives. They are running simulated training exercises for volunteers, complete with smoke machines and make-up artists, hoping to acclimatize responders to the chaos that would exist. In the aftermath of Oct. 7, UH has seen a boost in volunteers. People are signing up to give something back, to show their appreciation and to feel less powerless, said Attias.

The ubiquitous orange vests of UH volunteers are seen throughout Israel, often riding a distinctive Ambucycle or Ambuscooter, skirting traffic or entering public markets. This is a crowdsourced, localized and turbocharged emergency medical response system that is being studied and adopted by other parts of the world, including India and Brazil, and the state of Idaho. Jeff Klein, who sits on the board of United Hatzalah Canada, shared that Vancouver City Council was also exploring the model before UH Canada shifted its efforts to support Israel in the wake of Oct. 7. Countries and communities have different cultural attitudes when it comes to volunteering and liability, but a model that works in Israel can work anywhere, with adaptations.

United Hatzalah is funded entirely by donors and receives no money from the Israeli government.

“We don’t call them donors, we call them partners,” explained Attias. Funds go directly towards life-saving medical equipment, she said, and partners receive updates about how that equipment – be it an Ambucycle, oxygen kit or medic bag – has been used. It’s all transparent, and UH is widely regarded as one of the key charities making a meaningful difference in modern Israel.

Attias showed us a picture of all-female volunteer group gathered in a circle after a recent training exercise. There are women wearing hijabs next to Orthodox Jews wearing wigs. Secular, religious, people of all shades, all smiling, all participating in a noble cause greater than oneself. Attias believes this is Isaiah’s prophecy of Israel acting as “a light for the nations” in action, spreading universal compassion, community and life-saving technology where and when it is needed most.

It’s impossible not to be inspired. A doctor in the room, non-Jewish, donated a rapid response ebike. Even my daughter, Raquel, gearing up for her bat mitzvah, committed to a crowdsourced fundraiser for three life-saving oxygen kits – to contribute towards her UH Maple Syrup and Mitzvahs project, which is raising funds for both the oxygen kits and two child-resuscitation kits, visit tinyurl.com/55ur7fm7.

To become a United Hatzalah partner and learn more, visit UH’s website, israelrescue.org.

Robin Esrock is the bestselling author of The Great Canadian Bucket List, and a travel columnist for Canadian Geographic.

Annie will warm your heart

Azaleah Korn plays the title role in Gateway Theatre’s production of Annie, which runs to Jan. 3. Neko is one of three dogs that plays Sandy. (photo by David Cooper)

If you want a warm and fuzzy holiday treat, see Gateway Theatre’s production of Annie. Set in Depression-era New York City, Orphan Annie and Sandy, a rescued dog, embark on a search for Annie’s real parents only to be caught up in a world full of mystery, lovable waifs, a kind-hearted billionaire bachelor, dastardly villains and a nasty headmistress who hates children. Even President Franklin Roosevelt makes an appearance, getting the FBI and Elliot Ness involved in Annie’s quest. All of this plays out against a backdrop of great songs and fancy footwork.

Azaleah Korn (highlighted in the JI last issue, jewishindependent.ca/see-annie-at-gateway) plays the plucky, wide-eyed, optimistic, red-headed 12-year-old Annie with panache and has a voice mature beyond her years. Her rendition of “Tomorrow” brought tears to my eyes.

You could not pick a better actor than dashing Charlie Gallant to play billionaire Daddy Warbucks. He exudes charm and sophistication but with a sense of vulnerability. Sarah Cantuba, as Warbucks’ personal secretary, Grace, and ultimate love interest (surprise, surprise), plays the role with calm confidence.

Jennifer Copping as Miss Hannigan, the orphanage’s flask-swigging, whistle-blowing matron, plays it big and in your face. Josh Graetz does a marvelous job as her brother, Rooster, as he conspires with her and his moll, floozy Lily St. Regis (Manuela Palmieri) to win the reward offered for information leading to Annie’s parents. Their “Easy Street” number is a showstopper.

The six supporting orphans span the spectrum from sweetly shy to tough as nails. Special mention goes to Elle Hanson, who plays the youngest, Molly, a mischievous little imp if ever there was one.

Even with a 19-person cast, most of the supporting actors have to take on multiple roles and do so admirably.

And, of course, the dogs. Three different dogs will play Sandy over the course of the run, all cute as heck. Opening night showcased Neko, who had the audience oohing and aahing every time he scampered on stage.

Ryan Cormack’s set starts out in the bleak orphans’ bunk room and transitions seamlessly (thanks to the nimble work of the cast) into the orphanage office, the streets of NYC, the Roxy theatre and the Fifth Avenue mansion of Warbucks. Each transition is accompanied by a lighting change courtesy of designer Sophie Tang, from the dark opening scene to the bright and festive final Christmas scene, a metaphor for the optimism that grounds the production and grows as the story unfolds. Nicol Spinola’s choreography is the icing on the cake.

The six-piece orchestra, under Sean Bayntun’s leadership, provides the upbeat and lively sound that drives this production, although sometimes the volume drowns out the actors’ words. Donnie Tejani’s costumes are bang on for the era: simple dresses, pinafores and pantaloons for the orphans, three-piece suits and fedoras for the gents, fancy frocks for the ladies and Shantytown chic for the hobos.

Although there were a few hiccups on opening night, they should work themselves out. Perhaps the best measure of the show’s success is the response of the audience, who leapt to their feet even before the closing notes of the finale.

Director Josh Epstein (also highlighted in the Dec. 5 JI ) is to be congratulated for bringing all the elements together in this heartwarming story of love.

Running until Jan. 3, tickets for Annie can be purchased at gatewaytheatre.com or by calling 604-270-1812.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

Best of the film fest online

The thriller Shelter, set in Germany, features Mona, a Lebanese woman, and Naomi, an Israeli Mossad agent sent to protect the informant while she recovers from plastic surgery for her new identity. Mona and Naomi are together for two weeks in a quiet apartment in Hamburg, a safe house, a shelter. No one knew that this supposedly quiet fortnight would turn into an abyss and that shelter would need to be found elsewhere. In this game of deception, beliefs are questioned and choices are made that are not their own. And yet, their fate takes a surprising turn in this suspense-laden, elegant neo-noir.

Shelter is one of the eight best films the festival has screened over the last years. The others are All About the Levkoviches, Here We Are, Kiss Me Kosher, No Name Restaurant, Pink Lady, Restoration and The Women’s Balcony. For Hanukkah, the Vancouver Jewish Film Centre is making them all available online until Dec. 28. A full pass is $36; each film, $15.

Visit vjff.org.

– Courtesy Vancouver Jewish Film Centre

Partners in the telling of stories

Robert “Lucky” Budd, left, and Roy Henry Vickers have co-authored close to 20 books together, with more to be released in 2026. (photo from “Lucky” Budd)

As oral historian Robert “Lucky” Budd tells it, his collaboration with First Nations artist Roy Henry Vickers, which has produced several award-winning and bestselling books, was accurately summed up during a car ride with Vickers’ sister, Patricia, as a unique version of a father-son bond.

“Roy’s the same age as both of my parents, and I am the same age as one of his sons. So, we do have this relationship that’s very, very close, and there definitely is a bit of a father-son element to it,” said Budd, who is a member of the Victoria Jewish community.

“I consider him one of my closest friends, and I love learning with and from him, and we learn a lot together, and he teaches me something all the time. I’m so deeply interested in the stories he has to share.”

For the past 14 years, the pair has teamed up on a variety of projects, but the path that led them to one another, according to Budd, goes back decades, to when Vickers was in high school in Victoria.

His art teacher, realizing that there was little to teach his student, tasked the young Vickers with delving into the art of the Tsimshian and the Haida. Missing his home on the Skeena River, in Hazelton, Vickers started his research, but his efforts yielded no results until he met cultural anthropologist Wilson Duff.

Through Duff, Vickers was able to locate books and recordings, such as those produced by CBC journalist Imbert Orchard, who, from 1959 to 1966, recorded interviews with BC pioneers and those from First Nations. On the cassettes, Vickers listened to stories of the people of the Tsimshian and was moved.

“Over the years, he ended up losing those tapes, but it stuck with him. And so, around 2009, 2010, he went on a mission to try to find those recordings,” Budd said.

Vickers got in touch with the BC Archives, but nobody there knew what he was talking about, until he spoke to someone who said, “Oh, I think the person you’re supposed to be talking to is Lucky Budd.”

Vickers called Budd, asking for help in retrieving the recordings, and their work together began.

Budd holds a master’s in history from the University of Victoria; he is also a rock musician with a penchant for recording everything. At the time of Vickers’ call, he was digitizing audio recordings owned by the CBC and the BC Archives.

“The crown jewel was the Orchard Collection,” said Budd. “And it hit me very early on that I was supposed to turn that material into a book because I was getting an education on the history of the province that no one had ever heard before.”

Budd’s first book, Voices of British Columbia, was based on those recordings, and many of the ones that interested Vickers were in the book.

Budd returned Vickers’ call, telling him, “I know exactly who you are, I know exactly what you’re looking for, I can help you find those stories. It’d be my pleasure to do so.”

By this time, Budd had started a business, Memories to Memoirs, where he interviews and records people to help them tell their stories. He asked Vickers if he had thought of sharing his.

“He said, ‘Oh no, no, no, I’m way too young to do a thing like that,’” Budd recalled. “I was joking with him, and I took a little risk, and I said, ‘Hey man, didn’t you just release a print called “65 Years”? Doesn’t that mean that you get an old-age pension?’ And I started laughing, and he said, ‘OK.’”

After deciding that he had found the right person to work on his story, Vickers invited Budd to visit him in Tofino on Nov. 11, 2011.

“We hit it off like old friends. Roy, in that moment, was, like, if this isn’t the voice of the Creator saying that we ought to be working together, I don’t know what it is,” Budd recalled.

“Lucky has been an inspiration for me since the day we met,” Vickers told the Independent. “His enthusiasm and positivity is uplifting. Lucky has impressed upon me the importance of writing my stories.”

In the 14 years since their first meeting, the duo has co-authored close to 20 books, with more to be released in 2026. Their published titles, such as Raven Brings the Light (2013), Cloudwalker (2014), Orca Chief (2015) and Peace Dancer (2016), have sold well and brought home awards.

The two have also put together board books for children featuring Vickers’ artwork: Hello Humpback! (2017), One Eagle Soaring (2018) and Sockeye Silver, Saltchuck Blue (2019). In 2026, Harbour Publishing will be releasing Summer Brings Berries, a board book using rhyming text and colourful imagery to explore and celebrate traditional foods of the West Coast.

Additionally, Budd and Vickers have two other books coming out next year: a children’s colouring book and an art book celebrating Vickers’ 80th birthday.

“I am an oral historian,” said Budd. “I work in the medium of storytelling, and he’s one of the best storytellers I can imagine. We get on the phone and we start talking and, the next thing I know, 45 minutes or an hour has gone by, and he’s told me a ton of different stories.”

Besides his books, Vickers is recognized as a printmaker, painter, carver, designer, author and keynote speaker. Among his numerous accolades is a nomination for a Grammy Award in 2019 for his artwork on a box set of Grateful Dead recordings.

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

Four Peretz pillars honoured

As the owner of the 95-year-old Jewish Independent, I know full well that our Jewish community is built on the shoulders of those came before us. It is upon this foundation that we continue to grow, keeping our institutions going, while also starting new ventures and winding up groups that have served their purpose. Sometimes an organization will rebrand and recreate itself, sometimes it will reconnect with and reestablish its roots.

It is with these thoughts in mind that I watched the short documentary film Four Pillars of Peretz, which premiered last month at the Peretz Centre for Secular Jewish Culture. But it was also more personal than that, as I knew the four women being profiled: Bluma Field, Sylvia Friedman, Claire Klein Osipov and Gallia Chud, all of whom have passed away. To me, these women exemplified grace and grit. They were doers and they lived by their beliefs – most important, to me, though, was that they welcomed me, made a place for me, treated me as if I mattered, despite my holding very different views than they did on many things.

screenshot - Bluma Field, left, and Claire Klein Osipov — Bluma Field, left, and Claire Klein Osipov. *(screenshot)*

Nothing in filmmaker Michael Kissinger’s 36-minute documentary shattered the notion that they treated everyone with such respect, for which I’m grateful. I want to remember these women this way. A key element I feel is missing in the world today is this ability to be friends, or at least be civil to, people with different opinions. We are so polarized that our own views – and our need to express them – often take precedence over making another human feel, well, human.

I know that this phenomenon is nothing new. As is the case with most organizations, the Peretz Centre was started to fill a need that wasn’t being met by other groups at the time. Secular and socialist in nature, the Peretz has rarely “fit in” with the mainstream Jewish community over its 80-year history. While its politics held no interest for me, its focus on Yiddish culture, its choir in particular, did appeal to me and I was involved for some 30 years, having been introduced to the centre by Claire, who was the epitome of class – and, wow, what an incredible voice. She was close friends with my aunt, who also, sadly, has passed away.

Going down memory lane with Four Pillars of Peretz was truly a pleasure. For people who don’t know the four women profiled, I would still recommend watching it, if only to demystify the Peretz Centre. Community unity shouldn’t mean community uniformity, and everyone should be so lucky as to have at least one place where they feel welcome. We don’t need to belong everywhere, but it’s vital to our health, I think, that we belong somewhere.

screenshot - Sylvia Friedman with her son, Michael Friedman — Sylvia Friedman with her son, Michael Friedman. *(screenshot)*

Four Pillars of Peretz is also an example of what other organizations could do to honour their founders. Keeping history alive is so important, in my view. It’s not an inexpensive endeavour, but it’s worthwhile. In the case of this documentary, Kissinger really captures the spirits of these women and the way in which they still inspire others. Bluma, Sylvia, Claire and Gallia were by no means the only pillars of the Peretz Centre, but they were particularly driving forces, and they were so for decades.

“These stubborn old ladies, you know, they get sh*t done,” says Faith Jones, providing the first comments in the film, which features clips from interviews with other Peretz members and with members of the women’s families. Through these snippets, as well as photographs and other archival material, you get a sense of the enormous amount of effort and love that it takes to start an organization and keep it running.

The film starts with an overview of the four women, then each gets their own spotlight. The snappy music and the way in which Kissinger has edited the film makes it move along smoothly, both communicating the challenges these women – and others in their generation – faced with tenacity, but also with joy.

“I think all of these women, if they were here today, would say that they got just as much out of it as they put into it, because it’s community,” says one of Gallia’s daughters, Rita Chudnovsky, near the end of the film. “And there’s no replacement for a sense of community, and that’s something that’s, I think, getting harder for people to find.”

For more about the film, go to peretz-centre.org/post/four-pillars-of-peretz-short-documentary-film-project.

Chance led to great decision

The list of things that kids learn at summer camp, while having fun and making friends, is almost endless. (photo from Camp Miriam)

Serendipity led us to Camp Miriam. In the span of one week in the fall of 2017, two friends – who didn’t know each other at the time – asked where I was planning to send my then–7-year-old daughter to camp. I had been thinking about it but had no idea where to begin. Having not grown up in Vancouver, I didn’t know the options. Both friends spoke glowingly about Camp Miriam. One was an alum; the other had sent her older daughter.

Camp registration day was approaching, and both of my friends’ daughters were desperate to know who else would be going. I relied on those moms’ advice and, with their gentle prodding, made one of the best parenting decisions I’ve ever made. To this day, these moms remain among my most trusted friends.

That first summer, after the five-day introductory session for her age group at Camp Miriam, our daughter came down the steps at the ferry terminal looking exhausted but happy. She was holding hands with a new friend. She hugged her friend goodbye before she hugged us hello. In the car ride home, we asked her to tell us about camp.

“There was a big holiday and it was so much fun. Can I go to camp every year for that holiday?”

I pulled out my phone to Google Jewish holidays in July. There were a few obscure ones, but nothing that seemed worth traveling on three buses and two ferries to celebrate.

“Do you remember what holiday it was?” I asked.

“They called it Shabbat.”

My husband and I looked at each other.

“Shabbat happens every week – we celebrate Shabbat, too,” I started to explain. From the rearview mirror, I could see her face scrunch up.

“Well,” she said, “they celebrate it much better at camp.”

It turns out Shabbat isn’t the only thing they do better at Camp Miriam.

Recently, I asked my daughter what she loves most about camp. She mentioned a few specifics – tiyul (the overnight backpacking trip), rikud (the weekly Shabbat Israeli folk dance) – and then said something I wasn’t expecting, because it’s exactly the same thing I love most about Camp Miriam. She said her favourite thing is how much she learns there.

photo - two boys carrying a pail — *(photo from Camp Miriam)*

As she rattled off the list of topics – Israel, Jewish traditions, Hebrew, practical skills, responsibility – I realized how often I’m pleasantly surprised by what she has learned from camp. Things beyond the public school curriculum, and often beyond even my most patient and, dare I say, awesome parenting. Camp is both a safe space and a challenging one. At camp, my daughter has the opportunity to hone essential life skills: independence, resilience, teamwork, acceptance, adaptability. She has gained confidence, built friendships, appreciated the restorative power of nature, and enjoyed time away from screens. She has learned to paddle a kayak, varnish a wooden canoe, and passed the swim test doing the backstroke the year she forgot her goggles and decided the chlorine stung her eyes. She didn’t even know what varnish was before camp. And I didn’t know she could backstroke across an entire pool.

I’ve learned a lot, too.

The Camp Miriam registrar later told me I had been the stereotypical nervous mom. I would show up at information sessions full of concerns and fire endless questions at the staff. Eventually, she gently reminded me that my anxiety could rub off on my child. “We’ve got this,” she told me. Then, she gave me the most valuable advice of all: “Tell your kid that when they’re at camp, they should go to their counselors with their concerns and problems. That’s what they’re there for.” I can honestly say that in all the years she’s been at camp, the counselors have been there for her 100%. After a few years, I realized I should leave space at the information sessions for the new crop of nervous parents.

We’re now getting ready to send our daughter to Israel this summer with her Camp Miriam kvutzah (peer group). I’m no longer the nervous mom I was. Camp Miriam has helped me hone my own parenting skills. Even if a bit of nervousness still lingers – though I won’t admit it does – I’m mostly just thrilled for my daughter. I’m full of gratitude for the experiences camp has given her. I know this upcoming trip will be transformative, and that she’ll come back with greater insight, understanding and appreciation of Israel and Judaism. She will make friends from around the world and return home an even more confident, compassionate and resilient human being.

And, after the trip, when I pick her up at the airport, as she hugs her camp friends goodbye, I’ll be busy hugging my camp-mom friends hello.

Facing a complex situation

The Gaza Strip is currently divided between the Israeli-held zone (green) and Hamas territory (red). (Screenshot from Channel 14)

More than 25 months after Hamas’s Oct. 7, 2023, massacre and the consequent multi-front Middle East war, and more than one year after Israel and Hezbollah reached a ceasefire agreement on Nov. 27, 2024, Israel faces a complex geopolitical and security situation.

In the north, the Israel Defence Forces (IDF) is engaged in continuous covert and overt operations to prevent Hezbollah from rearming and regrouping. The Shi’ite terrorist militia has been dealt multiple blows, first by the Mossad’s twin attack Sept. 17-18, 2024, nicknamed Operation Grim Beeper, in which thousands of hand-held pagers and hundreds of walkie-talkies used by Hezbollah operatives exploded across Lebanon and Syria. On Sept. 27, the terror group’s secretary-general, Hassan Nasrallah, was assassinated in his Beirut bunker. On Nov. 23, the IDF eliminated Haytham Ali Tabataba’i in a missile strike on the Lebanese capital – Hezbollah’s chief of staff had been designated by the US Department of State as a Specially Designated Global Terrorist in 2016. Washington was offering a $5 million US bounty for information on him.

Though diminished, Hezbollah is not a spent force, according to Michael Rubin, a senior fellow at the Washington-based American Enterprise Institute who specializes in Iran, Turkey and the broader Middle East. Writing in the National Security Journal, Rubin notes that, notwithstanding the targeting of its senior leadership, Hezbollah’s financing – diaspora-linked laundering from Europe, Africa and South America and new backing from Turkey – remains resilient. He cautions that, unless Lebanon’s President Joseph Aoun cuts off the money supply and disarms Hezbollah by the year’s end, the country will slide into a renewed insurgency. Trained by Iran’s Islamic Revolutionary Guard Corps in guerrilla tactics and bomb-making, Hezbollah will resume its terror campaign attacking Lebanese armed forces’ vehicles with IEDs (improvised explosive devices), said Rubin.

Israel has made a huge investment to literally alter the landscape of its 120-kilometre-long northern frontier into a formidable physical barrier, and to blow up cross-border tunnels. Similarly, during the Israeli occupation of southern Lebanon from 1985 to 2000, several strategic mountain peaks were bulldozed to no longer loom over the Upper Galilee. However, the fiasco of Oct. 7 has shown that static positions provide limited deterrence against lightning strikes by well-trained guerillas.

In the Gaza Strip, Hamas – an Arabic acronym for Harakat al-Muqawama al-Islamia (the Islamic Resistance Movement) – also refuses to disarm. There, too, the situation remains unclear, complicated by Israel’s assassination of the terrorist group’s leaders: Yahya Sinwar, his brother Mohammed, Mohammed Deif, Marwan Issa and Ismail Haniyeh.

image - On Oct. 22, the terrorist-linked group Samidoun hosted a panel discussion in Athens with a newly released top Hamas operative — On Oct. 22, the terrorist-linked group Samidoun hosted a panel discussion in Athens with a newly released top Hamas operative.

In October, Israel released nearly 2,000 Palestinian prisoners and detainees as part of the first phase of a US-brokered ceasefire and hostage deal with Hamas. In exchange, Hamas released 20 living Israeli hostages. On Oct. 22, the terrorist-linked group Samidoun hosted a panel discussion in Athens with the newly released top Hamas operative Abdel Nasser Issa. Known as a student of Hamas’s notorious chief bombmaker Yayha Ayyash (1966-1996), aka “the Engineer,” Issa was serving two life sentences for his involvement in two suicide bombings in 1995 that killed 20 Israeli civilians and wounded more than 100.

On Nov. 24, Palestinian Islamic Jihad turned over a coffin with the remains of Dror Or. Staff Sgt. Ran Gvili and Sudthisak Rinthalak are the last two people murdered on Oct. 7 not yet returned. Rinthalak, an agricultural worker at Kibbutz Be’eri near the border of the Gaza Strip in southern Israel, was among the more than 40 Thais killed and 31 kidnapped in Hamas’s attack.

Also in November, a flight of 153 Gazans landed in Johannesburg, after departing from Ramon Airport near Eilat. Shimi Zuaretz, a spokesperson for Coordination of Government Activities in the Territories (COGAT) – the Israeli body that runs civil affairs in the West Bank – confirmed that the Palestinians transited through Israel “after COGAT received approval from a third country to receive them.” That third country was South Africa.

Some 200,000 Gazans are currently living in limbo in Cairo, unable to either find a destination in which to settle or to return to their homes. Together with the estimated tens of thousands of combatants and civilians killed in the Gaza war, these numbers indicate the ongoing depopulation of the destroyed coastal enclave.

image - Israeli Prime Minister Binyamin Netanyahu’s coalition faces a mounting campaign to reestablish Jewish settlements in the Gaza Strip. The poster above reads, “It’s time to settle in Gaza! Let’s start now! Hanukkah 5786!” — Israeli Prime Minister Binyamin Netanyahu’s coalition faces a mounting campaign to reestablish Jewish settlements in the Gaza Strip. The poster above reads, “It’s time to settle in Gaza! Let’s start now! Hanukkah 5786!”

With an election on the horizon in the first half of 2026, Israeli Prime Minister Binyamin Netanyahu’s coalition faces a mounting campaign to reestablish Jewish settlements in the Gaza Strip. Daniella Weiss, head of Nachala Movement Israel, whose stated aim is to settle further into Judea and Samaria, wants to begin Jewish settlement in Gaza within “months.” According to Weiss, more than 600 families – more than 2,500 people – had already registered for an initiative to settle in new beach towns.

Many Israelis fault Prime Minister Ariel Sharon’s unilateral withdrawal of 9,000 settlers from Gush Katif in 2005 as the catalyst that allowed Hamas to seize power from the Palestinian Authority two years later. In turn, that violent coup laid the way for the catastrophic Oct. 7, 2023, attack on cities and kibbutzim bordering Gaza.

The Gaza Strip’s 365 square kilometres are today uneasily divided into Hamas- and Israeli-controlled sectors. Israel will not allow Türkiye or Qatar to send troops to monitor the ceasefire, nor are any other countries keen to send boots on the ground. US President Donald Trump envisions a $500-million military base near Qiryat Gat, called the US Civil-Military Coordination Centre, to assist in Gaza’s future governance and patrol of the territory.

photo - The Israeli Defence Forces have killed Muhammad Abu Shaar, the Hamas terrorist who broke into Adi Vital-Kaploun’s residence on Oct. 7, 2023, and murdered her in front of her young children. He recorded himself with Adi’s babies in the same room she was killed as a Hamas propaganda video — The Israeli Defence Forces have killed Muhammad Abu Shaar, the Hamas terrorist who broke into Adi Vital-Kaploun’s residence on Oct. 7, 2023, and murdered her in front of her young children. He recorded himself with Adi’s babies in the same room she was killed as a Hamas propaganda video. *(internet image)*

Clan and Bedouin tribal groups in Gaza are engaged in a violent internecine struggle with Hamas. And the London-based Asharq Al-Awsat newspaper reported on Nov. 15 that IDF commandos on motorcycles are targeting Palestinians who participated in the abduction and holding of Israelis during the Oct. 7 attack. Among the Mujahideen Brigades terrorists gunned down in Khan Yunis was Mohammed Abu Mustafa, who kidnapped Shiri Bibas and her children Kfir and Ariel from Kibbutz Nirim on Oct. 7. Also recently eliminated was Muhammad Abu Shaar, who broke into Adi Vital-Kaploun’s residence at Kibbutz Holit and murdered the Canadian-Israeli woman in front of her 4-year-old son Negev and 4-month-old toddler Eshel. Shaar then recorded himself holding her children in the same safe room where Vital-Kaploun was murdered.

Troops of the elite Nahal Brigade captured six Hamas gunmen who surrendered after a 24-hour search that followed the IDF’s collapsing of the tunnel in Rafah where the terrorists were hiding, forcing them to emerge from a shaft, the military reported. The men were taken to Israel to be questioned by the Shin Bet Klali (General Security Service). A photo released by the IDF showed four of the operatives in the army’s custody, hands tied behind their backs, next to an armoured vehicle.

“At the end of a 24-hour pursuit, all 17 terrorists who attempted to flee the underground terror infrastructure in eastern Rafah were either eliminated or apprehended,” the IDF announced. At least 30 Hamas terrorists were killed trying to flee from tunnels in Rafah last month.

photo - Last month’s winter rain flooded Gaza’s tent encampments — Last month’s winter rain flooded Gaza’s tent encampments. (photo form IDDEF)

Environmental issues are also impacting the complex situation. Last month’s winter rain flooded Gaza’s tent encampments. In Iran, a severe drought has depleted the reservoirs that provide its capital city, Tehran, with drinking water.

Symbolizing the Ayatollah regime’s crumbling control, on Nov. 12, protesters garbed in military uniforms of the Shah’s regime unfurled the banned pre-1979 lion and sun Pahlavi national flag in a Tehran metro station. Commentators have posited that the next revolution may come soon, if the taps run dry.

Gil Zohar is a journalist and tour guide based in Jerusalem.

Unique interview show a hit

Margaux Wosk is a cast member of The Assembly, currently streaming on CBC Gem. (photo by Erich Saide / The Assembly)

“I am so proud of what we accomplished,” Margaux Wosk told the Independent about The Assembly, which is now streaming on CBC Gem. “The show offers fresh perspectives on autism and highlights how diverse autistic experiences can be. It also makes for authentic interviews, because no questions are off the table, which is rare to see in mainstream programming.”

Having watched the show, I couldn’t agree more. Produced by Vancouver-based production company Small Army Entertainment, The Assembly is entertaining. The way in which everyone interacts is refreshingly respectful, the content of the questions is unexpected and the honesty from both the interviewers and interviewees makes for compelling viewing. Everyone comes off as down-to-earth, friendly, with joys and fears most of us have experienced, just in different ways. In the inaugural season, the cast comprises more than 40 autistic and neurodivergent British Columbians interviewing six celebrities – Howie Mandel (America’s Got Talent), Maitreyi Ramakrishnan (Never Have I Ever), singer-songwriter Jann Arden, Allan Hawco (Saint-Pierre), Arlene Dickinson (Dragon’s Den) and comedian Russell Peters – over the course of six episodes.

According to CBC, the show is adapted from a French program, Les rencontres du Papotin, which started in 2022 on France 2 and became so popular that it has been commissioned in 19 countries to date. It was renamed The Assembly for British audiences, which is how it has been imported into Canada. But the origins go back even further, notes CBC – “The TV program was inspired by a real-life newspaper that has been written and published by autistic journalists since 1990.”

Wosk found out about the Canadian production via a Small Army Entertainment social media post.

The casting process took more than a year, according to CBC. “Producers worked with professional organizations within the autistic community to find people who would be interested in appearing on the show. Once selected, they were provided with some background information about each celebrity guest, but it was up to them to do their own research and decide how much or how little they would prepare,” says a Nov. 6 CBC Gem post.

“We received information about each guest and submitted about five questions each,” said Wosk. “These were then narrowed down to the best questions, and the team made sure there were no duplicates from other cast members. This process allowed us to craft questions that were both meaningful and unique.”

Filming took place in various places. “We filmed mostly during the summer at a few locations around the city that had natural lighting to accommodate people with light sensitivity, like myself,” said Wosk, who wanted to participate in the show for a few reasons.

“I love public speaking, and I wanted to help reduce the stigma around what autistic people are capable of,” they said. “I also wanted to reclaim my narrative. My childhood was difficult in many ways, so being able to feel empowered and share my perspective as an adult is really meaningful to me.”

Wosk serves as president of BC People First, where they support self-advocacy and inclusion for people with intellectual and developmental disabilities. They have written for or been featured in numerous publications and been interviewed for radio and other media many times. They received a BC Achievement Community Award this year, recognizing that their work with BC People First “breaks down barriers, fosters pride and amplifies underrepresented perspectives through creativity, advocacy and education”; that their business, Retrophiliac, empowers “others to express themselves, reduce stigma and build community”; that, in their leadership on accessibility, education and business development, their artwork and other initiatives, they are “a strong voice for inclusion, pride and important systemic change.”

Retrophiliac “sells items focused on disability, neurodiversity and self-expression, as well as communication cards that help people communicate,” and has a couple of access points: retrophiliac.etsy.com and shopretrophiliac.com. Wosk’s website is margauxwosk.com.

One particularly exciting moment for me as a viewer of The Assembly, though I only know Wosk slightly through some volunteer work we’ve done, was when Arden, as she was chatting with some of the interviewers after the main filming, said Wosk looked “kick ass.”

“It was amazing,” said Wosk when I asked how it felt to hear that. “I had planned my outfit weeks in advance for each taping, and my sense of style is really important to me. It is one of the ways I express my personality, so hearing Jann Arden compliment it felt very affirming and special.”

Wosk isn’t the only Jewish community member on The Assembly. I recognized Lyle Lexier and Wosk thought there might be another. CBC didn’t respond to my emails.

“I hope viewers have their assumptions about autism challenged and reduced,” said Wosk about the show. “I also hope they enjoy seeing Canadian celebrities and public figures answer questions in ways they probably have not seen elsewhere, giving a deeper sense of how human and relatable they are.”

To watch The Assembly, go to gem.cbc.ca.

See Annie at Gateway

Azaleah Korn, who plays the title role in Gateway Theatre’s production of the musical Annie, takes guidance from director Josh Epstein. (photo from Gateway Theatre)

Vancouver Jewish community member Azaleah Korn plays the title character in Gateway Theatre’s production of Annie, which opens Dec. 11 and runs through Jan. 3. The production is directed by another Jewish community member: Josh Epstein.

“When I found out I got the role of Annie, I cried and screamed and cried some more,” Korn told the Independent. “I was shocked, excited, crazy happy and a little nervous all at once! Being able to play the role of Annie is a huge honour and fills me with so much joy, excitement and inspiration.”

For the few readers unfamiliar with the Tony Award-winning musical, which has had several movie adaptations, Annie is set in New York City in the 1930s. It centres around Annie, an orphan who is eternally positive despite her harsh circumstances. Her luck – and that of her companion, the stray dog, Sandy – changes when she is invited to spend the holidays with billionaire Oliver Warbucks.

“I love singing all the songs in this play and I truly love diving deep into this complex human and figuring out how and why she does what she does and thinks what she thinks,” said Korn, who is a Grade 8 student at Eric Hamber Secondary School.

photo - Azaleah Korn stars in Gateway Theatre’s Annie, which runs Dec. 11-Jan. 3. The role of Sandy is played by three dogs; pictured here is Poco — Azaleah Korn stars in Gateway Theatre’s Annie, which runs Dec. 11-Jan. 3. The role of Sandy is played by three dogs; pictured here is Poco. *(photo by David Cooper)*

“Playing Annie is challenging for me because it’s not a character that I innately identify with,” Korn said. “Her hope and upbeat attitude, even in her awful situation, isn’t my gut reaction. But playing her has inspired me to find the hope or silver lining in otherwise sad situations. The most fun part of being Annie is exploring the world through her eyes.”

At age 13, Korn has the training and experience to play such an iconic role and make it her own.

“I can’t remember a time when I wasn’t performing; whether it be for my parents, friends, family and/or my stuffed animals!!” she said. “I started training in musical theatre, dance and vocals at the age of 5. Funnily enough, my very first vocal performance, at the age of 5, were songs from Annie: ‘Maybe’ and ‘You’re Never Fully Dressed.’”

Korn played Tomika in School of Rock at Theatre Under the Stars in 2024 and Brigitta in the Sound of Music at Delta Youth Theatre in 2023. She competes vocally and, this past year, won first place in the musical theatre genre at Kiwanis Music Festival. For the last three years, she has been dancing competitively, with the Happening Dance Studio. A couple of years ago, she won a nationwide songwriting contest. She would like to study musical theatre in New York and perform on Broadway.

“I prepare for my roles by learning the backstory of the show and my character. I really try to bring ‘me’ to the character I am playing, so, although I watch the musical or movie, I try not to copy or emulate exactly what I see. It is really important for me to bring my own authentic self to the character, so it feels and looks real,” she explained.

“To memorize my lines, I visualize the scene over and over. This technique helps me feel the beat of the scene and then the lines come more naturally.

“To calm my nerves,” she said, “I think, ‘what would Beyoncé do?’ I channel my inner courage and remember that musical theatre is my biggest passion and love. Reminding myself of my love for being on stage helps ease the nerves.”

Self-care is part of it, too. With Annie, for example, there are shows six days a week, and a matinée and evening performance on Saturdays.

“To have enough energy for the shows, I try to relax – when I’m not at school or rehearsing!” said Korn. “I like to zone out by watching TV or reading a book and keeping my talking to a minimum (which can be hard for me at times!), so I don’t wear my voice out. Luckily, my mum cooks me healthy meals so I have the energy to dance, sing and act my heart out on the stage. I warm up my body and voice. Cheryl Porter’s vocal warm-ups are amongst my favourite and have helped me keep my vocal cords safe throughout my singing years and daily shows.”

It was Korn’s mom who saw that Gateway Theatre was casting for Annie.

“She submitted me for the role of Annie and/or the orphans,” said Korn. “I practised the vocals for the audition with my vocal coach, Frederik Robert. My mum was my reader for the scene I had to practise. I guess she did an OK job! Mentally, I told myself to just go in there with all my confidence and courage and play the role and sing the best I could. And, like my mum always reminds me, ‘have fun!’”

This will be Korn’s first time working with Gateway Theatre. She is grateful to Epstein, choreographer Nicol Spinola, music director Sean Bayntum and the whole Gateway team for the “incredible opportunity.” Her parents have provided “endless support,” she said, also highlighting her vocal coach, Robert, and dance teacher, Kim Stevenson, “for pushing me and believing in me!”

Judaism is a fundamental aspect of Korn’s life.

“My grandfather, David Solomon Korn (he is named after two kings, he likes to remind us), is a Holocaust survivor. He and his brother Yaakov, aged 6 and 7, survived the Nazis as they came through Europe, including Brno, Czechoslovakia, where my grandfather was born. Tragically, his parents died at the hands of the Nazis, leaving my grandfather and his brother orphans. He recently wrote his memoir, in a book called At Great Risk, with the assistance of the Azrieli Foundation. My grandmother, Yona, was born in Afula, Israel. My grandparents met in Montreal and, after marrying, lived in Haifa before immigrating to Canada. It is a story of survival, determination and hope.

“Playing the role of Annie causes me to pause often to reflect upon the injustices inflicted upon my grandfather, who himself was orphaned at a young age, and the resilience of the Jewish people,” Korn continued. “My Jewish identity is strong and it is an important part of who I am today.”

It is easy to see why Epstein told the Independent that everyone who sees Annie will “walk away drawn in to our Annie, rising star Azaleah Korn – she’s got a mix of undeniable star power and acting chops.”

Epstein is a multifaceted talent himself, being an actor, producer, director and writer. The almost-46-year-old is a theatre veteran. For him, directing at Gateway Theatre is special.

“I spent my Hanukkahs doing the seasonal show at the Gateway as a kid – five winters,” he said. “It was a training ground for me, and this is all full circle.”

He directed Gateway’s 2024 production of Oliver! (He was part of Gateway’s 1992 production of the musical, playing young pickpocket Charley Bates.)

“Coming off Oliver! last year was a real awakening for me,” Epstein told the JI. “I didn’t expect how joyful it would be to dust off a classic and rediscover how well these classics hold up when you approach them with imagination and depth. The Gateway encouraged us to dream big and take risks. Barb Tomasic (executive artistic director) is an extraordinary leader, and that attitude trickles through the entire company.

“On opening night, she asked me about returning, I was a quick yes. She had a list, I had a list, and Annie was at the top of both.”

When asked his favourite thing about Annie so far, Epstein said, “We’ve found fresh takes on every character.” As noted, he highlighted Korn. He also said, “I think audiences will see a Warbucks they’ve never seen before. Charlie Gallant brings something impulsive, surprising and emotionally alive. It reinvigorates the role and opens up the whole story.”

He added, “But, who am I kidding, the dog will undoubtedly get the most attention. Everyone loves Sandy.”

Sandy is played by three dogs: Neko, Mylo and Poco. While there is the saying, “never work with kids or animals,” Epstein said, “It’s a myth. We had 70 kids audition. Seventy. Vancouver is full of incredible training programs … so the talent pool was unbelievable and our orphans are exceptional. The challenge is harnessing all that energy and potential inside a big, fast-moving machine.”

It’s been six to 10 months of planning, said Epstein, between “sets, costumes, props, auditions and logistics. Then, three intense weeks of rehearsal into tech. In that window, we have to teach all the music, choreograph huge numbers, stage transitions, build quick changes, run fight direction, intimacy work, dialect coaching, work with three dogs and a dog trainer, squeeze in costume fittings and lift calls, and prep special promo events. When you break it down, the number of actual hours we get for scene work is shockingly small, so my job is to move quickly while still hitting all the moments we want to savour.”

There is nothing like live theatre.

“Look,” said Epstein, “more and more, most of us are at home scrolling, streaming, consuming things alone. Theatre is one of the last places where you sit in a room with hundreds of strangers and feel something together. For this price, with this level of talent and this much energy poured into it, there’s nothing else quite like it.

“At its core, Annie is a story about chosen family, about finding the people who show you that love isn’t just something you give, but something you have to allow yourself to receive – Warbucks learns that, Annie teaches it – and I hope you leave the theatre optimistic about finding that kind of connection with your own chosen family, whoever they may be.”

For tickets to Annie, go to gatewaytheatre.com.

Explorations of light

Into the Light – featuring the art of Gillian Richards, left, and Pilar Mehlis – is at the Zack Gallery until Jan. 5. (photo by Olga Livshin)

The current show at the Zack Gallery, Into the Light, introduces two artists: Pilar Mehlis and Gillian Richards. Both explore light and air in their paintings – though with very different approaches.

Mehlis was born in Bolivia. Her family moved to Canada when she was 12. Since then, she regularly travels between the two countries: for study or work. “I’ve lived in Vancouver since 2001, but I still visit Bolivia every year,” she told the Independent. She feels that she belongs to both cultures, the same way she belongs to art.

“I didn’t choose art as a profession,” she said. “It chose me. I always liked doing art, but, in Bolivia, art is not considered a serious profession. Not stable enough. In the beginning, I tried to deny it, found various jobs in other fields, but I couldn’t stay away from art. When I was young, I had a romantic view of the artistic life – you know, an artist in her studio. I know better now, but it is too late for me.” She smiled.

Richards is local. She studied fine art in British Columbia and Alberta, starting in high school. “After I graduated from a fine arts program, I worked for years in the film industry here, in Vancouver,” she said. “I was a scenic artist. It was a good job, with a steady income, and I learned a lot, but it wasn’t creative enough for me. I was always working on someone else’s concept. About 10 years ago, I decided to step back from film and pursue my own artistic ideas. I wanted to express myself, my vision.”

Both artists have known each other slightly for a long time, as their studios are in Parker Street Studios and both have participated in the Eastside Culture Crawl for years, but the shared exhibit is due to the efforts of Zack manager and curator Sarah Dobbs.

“Sarah brought us together,” Mehlis explained. “I applied for the show at the JCC, but I didn’t have enough new works to fill the gallery. Sarah visited several other studios in our building to find the second artist.” Richards picked up the story: “Sarah approached me with the idea of a two-artist show, and here we are.”

For Mehlis, her Latin American roots inform her paintings and sculptures. “Magic Realism is very popular in Latin America,” she said. “It fascinates me: the idea of mystical and mysterious in everyday life. My grandmother’s stories were full of magic embedded in the ordinary. And we have many street festivals in Bolivia. The performers wear colourful costumes of fantastic beasts, with only their human legs showing.”

Similarly, the birds in Mehlis’s paintings all have human legs and bright plumage. They are flying in the same direction, through the luminous light, towards goals only they know. The artist calls this series the Ornithrope Collection.

“The idea of migration of humans and animals intrigues me,” she said. “For fish and birds, there are no borders, they follow a pattern in the world. But humans – we have borders. Borders complicate things, and still people migrate. My birds are modeled on a swallow, a migratory creature. Swallows fly between North and South America every year, like me. They are my travel companions.”

image - “Riding on the Wings” by Pilar Mehlis — “Riding on the Wings” by Pilar Mehlis.

Most of her pieces were inspired by Caroline Shaw’s music, set to the words of psalms, and the titles reflect those inspirational, poetic phrases: “The sparrow found a house…” or “They pass through the valley…” or “Riding on the wings…” All the pieces are focused on fantastic, anthropomorphic birds: at rest or in flight. They are the protagonists of Mehlis’s stories.

Meanwhile, Richards’ paintings are of scenery, with succinct titles: “Commute,” “Ferry Deck,” “Tree Fort.”

“Urban spaces always interested me,” she said. “We pass them. We touch them. We change them. I take lots of photos when I walk around, and my photos often serve as a base for my paintings, something I want to explore, a starting point. Light and shadows create a mood, an atmosphere. That’s why there are no people in my paintings. People change the mood, but I don’t know who they are. As it is, the viewers are the participants. They can walk into my paintings and make up their own stories.”

Light suffuses Richards’ cityscapes, be it the pink sunlight on a ferry deck, the lamplight at night on a street corner, or the yellow sunlight peeking through a tangle of boards of an abandoned tree fort. In Richards’ paintings, we are the people driving in the cars or traveling on the ferry through the lights of ocean and sky. We might have built the fort.

image - “Tree Fort” by Gillian Richards — “Tree Fort” by Gillian Richards.

“That tree fort is such an expressive structure,” she said. “I have several paintings of it. It is in that liminal space between a residential area and a forest. There is a mystery there: who built it? What for? It’s human architecture, fragile but enduring.”

Like Mehlis, Richards finds mystery.

Another similarity between the artists is that both are cautious about commissions.

“I have only one client – a poet,” Mehlis said.

“I have done some commissions,” Richards said, “but it wasn’t really for me. It resembled too much my work in film: executing someone else’s ideas.”

Mehlis and Richards represent a generation of creative people finding their way, one step at a time, between the old brick-and-mortar gallery system and the new internet marketing world.

“I don’t know how to promote myself anymore,” said Mehlis. “It used to be all galleries, but now it is all online, and I don’t understand those algorithms.”

Richards agreed: “The gallery system is in trouble now, competing with the online sales. But Eastside Culture Crawl is still going strong. Most of us make our yearly income during Culture Crawl. Hundreds of visitors come every year to our studios. It is a huge artistic event, the most democratic art sales in Vancouver. Nobody curates it. People buy what they like.… I remember in 2021, just after COVID, there were still restrictions in place of how many people could visit at a time. I looked out the window and there was a lineup of people in front of the door to our studios. It stretched out for blocks. They all wanted our art. It was very heartening.”

Into the Light opened Nov. 13 and will be up until Jan. 5. For more information, visit the artists’ websites, pilarmehlis.ca and gillianrichardsartist.com.

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