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Fostering literacy, education

Aaron Friedland will be the keynote speaker at this year’s King David High School Golden Thread Gala. (photo from goldenthreadgala.com)

King David High School’s Second Annual Golden Thread Gala takes place May 12. For an event that celebrates the story of KDHS, who better to represent King David’s success than one of its alumni. The night’s keynote speaker will be Aaron Friedland, Class of 2010.

Friedland is a National Geographic Explorer, a sustainable development practitioner and a PhD candidate.

In 2010, while Friedland was attending King David High School, he and his family visited Uganda’s Abayudaya Jewish community on a voluntourism project that would change his life and inspire the Walking School Bus. The Walking School Bus’s mission is to enhance access to education in low-income communities globally.

His research in the field of econometrics is focused on the intersection of economics and education, and his research-based interventions have helped more than 35,000 learners in Uganda and India improve their literacy – and literacy is the number one predictor of academic success.

Friedland also founded Simbi Foundation, an organization that creates solar-powered learning labs from shipping containers, in Uganda and India, providing access to quality educational tools in low-resource communities and UNHCR refugee settlements. His foundation was also the winner of the MBR Prosperity Grant to build BrightBox solar-power classrooms. Each BrightBox includes a shipping container with solar panels, laptops, projectors and digital aids, as well as all the installation costs at its destination. In 2016, Friedland received the Next Einstein Award for his work in furthering access to education.

This year’s Golden Thread Gala committee is co-chaired by Heidi Seidman and Sherri Wise; sponsorship chair is Brett Sandler. Committee members are Cyndi Ankenman, Dalia Bressler, Chana Charach, Nicole Ginsberg, Alain Guez and Margaret Hemingson. The development team is comprised of Esther Mogyoros, Justine Folk and Michele Zychlinski.

The event, which will be held at Congregation Beth Israel, will be emceed by KDHS head of school Russ Klein and Howard Blank will be the auctioneer. There will be a live and silent auction, as well as dinner and entertainment, a portraiture studio and more.

For tickets and other information, visit goldenthreadgala.com.

– Courtesy King David High School

Revitalizing community

Torah West wants to make Metro Vancouver a destination for more Orthodox newcomers. (photo by Cynthia Ramsay)

A new initiative, called Torah West, aims to grow Metro Vancouver’s Jewish population and make it more attractive to Orthodox newcomers – a goal that proponents say will strengthen every component of the community.

Torah West is focused on three Rs: retain, recruit and revitalize. It seeks to stanch the departure of Orthodox families from the region, recruit newcomers and, in the process, revitalize not only the institutions that serve specifically Orthodox families but increase demand and support for services that enhance life for all Jewish British Columbians.

“The more people who come, the more services we’re going to need to be able to sustain those people,” said Dr. Jonathon Leipsic, who co-chairs Torah West with Hodie Kahn. “More kosher restaurants, more people availing themselves of kosher food, more camps, more campers, more kids in Jewish day schools, more synagogue memberships, more Jewish community members, more people taking leadership roles in the community, more people investing in the community and on and on and on.”

Among many other community roles, Leipsic is president of Congregation Schara Tzedeck and Kahn is a past president. Together, they saw a growing challenge in the community and decided to act. They credit the Diamond Foundation for funding a 2020 study of the challenges facing the Orthodox community here, and the Jewish Federation of Greater Vancouver, especially vice-president Shelley Rivkin, for taking Torah West under their umbrella. The initiative will not see brick-and-mortar projects, but rather seeks to close gaps that make observing an Orthodox life in the city challenging.

Facilitating relocation to British Columbia might mean something as simple and comparatively affordable as helping a family with first and last months’ rent. If families want to live in Vancouver but send their kids to yeshivah in Las Vegas or Denver or elsewhere, Torah West can help fund flights home for the holidays, for example, if that tips the scales for the family’s place-of-residence decision. Other angles might include deferred membership fees to synagogues, the Jewish Community Centre of Greater Vancouver or other institutions. The community has systems in place to make Jewish summer camps accessible for all families and, if helping fund travel to the East or to the United States to access another form of camp would encourage families to relocate here, Torah West would support that.

Torah West will work with the Provincial Nominee Program, in which the federal government invites provinces to designate streams of immigrants that fill regional needs. Guiding newcomers through the immigration process, helping them get their credentials assessed and assisting in finding employment will ease some of the logistical challenges of relocation.

The initiative is loosely based on GROWWINNIPEG, a project of Manitoba’s Jewish community that has helped facilitate as many as 1,800 Jewish families migrating there, although there are distinct differences – cost of living, notably – that require unique responses.

Part of the motivation for Torah West was the loss of the Pacific Torah Institute yeshivah and limited Orthodox educational options in the city. But that is merely part of a longer trajectory. In her lifetime, Kahn said, she has witnessed waves in the community, in which there were more or fewer Orthodox families and, in turn, educators and infrastructure to serve them. The end of PTI was just part of a trend, she said, but it was a big blow.

“As they say, every crisis is an opportunity,” she said. “This crisis is that opportunity. Torah West is the response to that opportunity.”

Kahn said a notable aspect of Torah West is the buy-in from every single Orthodox group in the region.

“What’s innovative and fresh about the initiative is that it was developed collaboratively with all the Orthodox institutions and the Chabad centres across the Lower Mainland,” she said. “It’s very groundbreaking in that sense.”

That sort of collegiality is symptomatic not only of the Orthodox community but of the entire Vancouver Jewish community, Kahn said, something she sees as remarkable.

“Granted, we all have our little tiny silos of religious observance, which is reflected in the religious institutions that we choose to align ourselves with,” said Kahn. “But when it comes to the community, Orthodox rabbis play with Reform rabbis … Conservative rabbis play with Chabad. It’s a very unique kind of cultural experience that we have here and it’s reflected in the individuals who share the community and build the community. In a lot of other communities, those silos are very wide and very deep and they do not cross-pollinate or necessarily engage with one another to the extent that we do here.”

Both Kahn and Leipsic stress that a larger Orthodox community means a strengthening of every aspect of the community, to the benefit of all.

“We need to look at undergirding the Orthodox community because, at the end of the day, they provide the Jewish educators for our community, they provide the consumers for Jewish infrastructure like kosher restaurants or other services that are not just Orthodox-centric, they are Jewish-centric,” Kahn said. “That is what our vision is, to make sure that we have the proper foundation that will accrue to the benefit of the entire community at large.”

Similarly, while Torah West aims to draw new Orthodox families, the services the program provides will be available to anyone across the spectrum.

“We welcome everybody,” said Kahn. “There’s nobody who is going to, as they say, measure the length of your tzitzit. But we do have a hope and a dream and maybe some expectation that, if you become part of the Torah West initiative, you will, in turn, become part of the initiative in every respect. That means becoming a member of a synagogue, becoming a consumer of the kosher restaurant, or start another kosher restaurant, ensuring that the kosher butcher can stay in business.… We have a dream that we can create in Vancouver a nexus that combines the gloriousness of life in Vancouver with the ability to sustain a Torah lifestyle and the infrastructure that makes that possible.”

Nobody can talk about migrating to Vancouver without addressing the economic elephant in the room.

“The cost of living in Vancouver obviously has an impact,” said Leipsic, adding that the community is addressing macroeconomic issues and will continue to do so. “As far as people we want to recruit, we think that there are a number of people with capacity, who seek freedom and the opportunity to live a Torah-observant life or a traditional life in a nonjudgmental, diverse community with a lot of richness in it.”

Economic, political and social challenges in South America make that a target market of Torah West. In these cases, migration may be less an economic decision than one based on a desire for political stability.

Not coincidentally, the manager and community liaison of Torah West, Amanda Aron Chimanovitch, is herself a Brazilian-Canadian who came here via the Winnipeg project.

“Our goal is to make sure that there are economic and social and other supports for families who do want to come here,” said Kahn. “Ideally, families that are self-sustaining is a fantastic thing; it’s fantastic for all of us. But we’re not about to turn ourselves blind to the idea that, if you’re a Jewish educator, as an example, Vancouver is a very challenging place to be able to live independently without some support. I think we’re looking to help bridge that gap a little bit.”

Torah West is a three-year pilot project that Kahn and Leipsic are hopeful will prove permanent. Just putting Vancouver on the map as a possible home will be a success.

“When people are thinking about relocating, Vancouver is not even in their consciousness,” Kahn said of many Orthodox families. “Our goal is to create Vancouver as an option for them – whether it becomes the ultimate choice, we can’t control that. But we at least want to put Vancouver on the map.… You need a little bit of pioneer spirit to come here. If you’re looking for a place that’s already got all the amenities and got all the infrastructure, Vancouver is probably not your place. If you’re looking for a place of insurmountable geographical beauty and a real special feeling in the community and the landscape upon which you can plant your own trees and nurture them and make them part of the forest, this is the place for you.”

Rivkin, vice-president of planning, allocations and community affairs at the Jewish Federation, credits the Winnipeg project as a model but acknowledged differences. While Winnipeg was experiencing a declining Jewish population, that is not the case in Vancouver. This is one of North America’s fastest-growing Jewish communities.

“We don’t actually have a diminishing Jewish community, we have a diminishing community of people who are traditional or Orthodox,” said Rivkin. The reasons are straightforward. “We don’t have a yeshivah anymore, we don’t have summer camps that meet the needs of the Orthodox community, we don’t have a nice [kosher] restaurant here anymore.”

Rivkin said studies indicate that new Canadians tend to earn lower salaries than other Canadians in a similar role for up to 10 years after arrival. Helping people through the first challenging years is part of Torah West’s mission.

Kahn summed it up simply.

“There’s something very beautiful about a small community, something especially beautiful about the Vancouver Jewish community,” she said. “What we would love to see is just more opportunity for people who are seeking a halachic Torah lifestyle to be able to do that in Vancouver.”

Angels still giving

Courtney Cohen with students from Richmond Jewish Day School holding donated items for care packages. (photo from Rose’s Angels)

The ninth annual Rose’s Angels took place over the months of February and March. With the generous help of family, friends and community, it was possible to donate to 10 not-for-profit agencies servicing the most vulnerable in Richmond.

Rose’s Angels has been a community event since 2012, donating more than 6,000 care packages to date in honour of Rose Lewin and Babs Cohen, Courtney Cohen’s grandmothers. The event runs under the umbrella of the Kehila Society of Richmond, where Cohen and Lynne Fader, co-executive director of the society, established the project together.

photo - Courtney Cohen at the Richmond Food Bank, one of the agencies with which Rose’s Angels works — Courtney Cohen at the Richmond Food Bank, one of the agencies with which Rose’s Angels works. *(photo from Rose’s Angels)*

With the increasing cost of living and many families struggling to make ends meet, Cohen and Fader decided to alter this year’s individual care packages to be primarily gift cards to local grocery/drug stores, rather than comprised of many different items. A gift card allows an individual to go independently and purchase what they require when they need it most. The goal is to return to the large care-package event for 2023, if the COVID safety guidelines allow for it.

Rose’s Angels would not be possible without the support of the Kehila Society, family and friends, community volunteers and donors. Throughout the years, Cohen and Fader have created a strong connection with recipient agencies and so are able to purchase specialized items that are most needed by each agency, making the donations more personal. For example, for one not-for-profit this year, Rose’s Angels put together packages that included new hygiene items for both parent and baby, non-perishable snacks, crayons, gift cards to a local grocery store and a reusable bag.

To learn more about the community-based work done by Kehila Society of Richmond or to donate, visit kehilasociety.org or 604-241-9270.

– Courtesy Rose’s Angels

Immigration challenges

Adi Barokas and her husband Barak during their time in Vancouver. (photo from Adi Barokas)

I read a review in an Israeli newspaper of Adi Barokas’ Hebrew-language graphic novel, the title of which translates as The Journey to the Best Place on Earth (and Back). I also read a scathing review of that review on the JI website, written by Roni Rachmani, an Israeli who lives in Vancouver. Disturbed by several aspects of the criticism, I decided to look into the book – and its author and illustrator – myself.

When I made aliyah from Canada in 1975, I had many difficulties acclimatizing to Israel. In reading Adi’s book, it was as though she had written the book I’d always wanted to write about Israel. Her experiences in Canada, which took place three decades after mine in Israel, were decidedly similar.

Aliyah is often thought of as a lofty, spiritual ascent, but, in a practical sense, it is effectively like immigrating to any other country. In the euphoria and joy of making the huge leap, this can be overlooked.

Decades before the internet, cellphones, Skype and WhatsApp, I left my home and family, strongly motivated by Zionist ideals, conveyed to me by my parents’ Israel experience of the 1950s. I longed to live a fuller Jewish life and take part in the developing history of Am Yisrael. Wrapped in a fuzzy cloak of enthusiasm, naïve and wholly unfamiliar with Israeli society, things turned out to be very different than the utopian image I’d envisioned. However, nearly half a century later, I am still grateful to be here.

Adi and her husband Barak met in the mid-2000s. Shortly after they married, Barak was called up to serve in the Second Lebanon War. They wanted to live in a quiet, peaceful society where they could just pursue their lives and careers, so they headed to Vancouver, which is often billed as one of the best places in the world to live. Unfortunately, they met with many unexpected challenges, mostly related to cultural differences. They tried to feel like they belonged, but never overcame feeling like foreigners.

For me, the in-your-face abrasiveness for which Israelis are known was an enormous shock to my more reserved, polite system. In Vancouver, Adi found those Canadian-associated traits off-putting and two-faced.

Adi and Barak were seeking a breather, serenity and space from the intense pace of life in densely populated Israel. With excessively high expectations that everything would be just so, they came to Vancouver. But for them, too, the culture shock was huge. They were not accustomed to so many rigid rules and regulations.

Adi had never lived in such a diverse society and was excited to interact with people of many ethnicities from around the world. It took a long time to catch on to the nuances, the nonverbal cues, of how people in Vancouver socialize – what topics are off limits, for example. Coming from Israel, a very liberal place, where most people freely express their unsolicited opinions, this was challenging.

Adi and Barak found it odd that everything was so quiet and calm in Vancouver. They were used to a lively, noisy society where people mix in close proximity. In Vancouver, everywhere they went, voices were barely audible and, so, they gradually adjusted and lowered their own tone of voice, and limited their conversations to certain topics.

The couple were eager to socialize, especially with their fellow foreign colleagues, with whom they felt more affinity than with Canadians. They initiated get-togethers, extended invitations, but they found everything so formal and stilted and rarely reciprocated. The only safe subjects of conversation were about hockey or the weather, nothing the couple felt was deep or of substance. This hampered their forming close friendships. Their sense of strangeness, that they would never fit in, grew.

On the flipside, schooled in the notion of appropriate table talk in Canada, I would often feel embarrassed at subjects discussed so frankly in Israel. It felt like an infringement on private matters, mostly with regards to money and personal relationships.

In Israel, people stand far less on ceremony, tell others to drop by any time, and mean it. But, to me, these invitations seemed an empty manner of speech. In Hebrew, the word for “to drop by” (tikfetzi) and a less polite version of “buzz off” (tikfetzi li) are the same!

I was baffled when people would ask why I’d come to Israel. It’s obvious to anyone imbued with Zionist and Jewish values that aliyah is a natural step, that Israel is the place to build a future. But, instead of words of praise or encouragement, Israeli peers, if they showed any interest at all, found it amusing that anyone would leave what they assumed was the easy life, to come to what was a troubled society. There was certainly no welcome wagon, no grace period to acclimatize. There were few invitations for holidays or Shabbat. The workplace, where I was often the only non-Israeli, was an even rougher scene – I wasn’t aware of how critical having connections really is, of how offices and organizations operated.

image - The Journey to the Best Place on Earth (and Back) book cover — The Journey to the Best Place on Earth (and Back) was written and illustrated by Adi Barokas.

Across the ocean, Adi and Barak arrived with several science degrees under their belts, and had to swim the stormy seas of academic life in a B.C. university. There was some discrepancy between how they saw themselves – as conveying constructive criticism – and what some of their colleagues and acquaintances shared with them. This created awkward misunderstandings, a lack of candid communication and obstacles to their ability to settle in.

The couple had to wade through seemingly endless red tape through bureaucracy channels. They found it infuriating to jump hoops with indifferent, intransigent civil servants, who never saw them as individuals.

I can completely relate, as I have had to navigate mountains of paperwork, all in Hebrew, which, when I first arrived, was at an afternoon Hebrew school level. English was not widely spoken, and clerks lacked any service orientation – there was scarcely any eye contact. I miss even a perfunctory exchange of pleasantries, which, in Israel, is considered a waste of words. But Israel has come a long way and there is a marked improvement; as well, much can be done online. That’s not to say everyone is pleasant, but at least civil.

Barak and Adi became increasingly frustrated in Vancouver and it began to affect their mental and physical health. They became discouraged, falling into despondency, and their lives were out of their control. Under steadily increased pressure, their goals seemed to be slipping from their grasp, yet they were obligated to stick it out. They would have loved to have returned to Israel much sooner, but honoured their academic commitments, which were critical to enabling Barak to advance in his career in cancer research. Competition is fierce in academia but, eventually, Barak was offered a position at Ben-Gurion University, for which they are grateful.

Adi asked me why I stay in Israel. The answer is that, despite not knowing the ropes initially, having had to master Hebrew and the Middle Eastern mentality, the reasons for coming remain steadfast: unwavering belief in Zionist ideology and the privilege of fulfilling the mitzvah of settling in Eretz Yisrael. Still reserved and well-mannered at my core, I can and will tell someone off in Hebrew if they cut in front of me in line. And driving has forced me to become assertive.

Life in Israel has made me resilient, not automatically accepting of everything that’s dished out, and no longer complacent. My children and grandchildren have none of my social concerns and are rarely bothered by the things that irk me. They do recognize and understand that it hasn’t been a walk in the park for me. They greatly benefit from knowing English, which I spoke at home to my kids and which I also speak with my grandchildren.

Distance has impacted relationships with my relatives, who are all in Canada, and I miss them. But, in Canada, families commonly live far apart and visit only a few times a year. That’s just the norm and how I grew up, too. In Israel, we belong to a close-knit clan, with whom we celebrate holidays and other occasions; regularly helping one another is everything here.

Living in Vancouver, Adi was frustrated by the positive-thinking approach that was all the rage, but didn’t work for her. She needed to be able to share her concerns openly. She wanted practical advice, instead of being brushed off all the time, with people either trying to divert her attention or change the subject. At least the experience forced her to become more self-reliant.

Adi began to delve into other areas beyond academia, having been turned off the sciences for good. She tapped into her creative side, got her driver’s licence, went swimming, started writing. Both she and Barak took up yoga and meditation.

Adi sought therapy and finally found a therapist who was helpful, which contributed to Adi’s bouncing back from within. Time spent in nature, and developing her writing and artistic skills, offered solace.

It was during this process of self-discovery and self-care that the couple decided to start a family, and they had a son.

When an offer came for Barak to take up a post in Leicester, England, it meant once again picking up and leaving, and having to learn their way around a new place. But, it appealed to them, as Leicester was off the beaten track and the small city ambience appealed to them. As well, the move brought them closer to home. Instead of the 10-hour time difference, they were only two hours behind Israel time-wise and a five-hour flight away.

Outside Israel, Jews tend to belong to communities where they gather to share religious and cultural activities and strengthen their bond with Israel. For me, coming to Israel to live in a predominantly Jewish society was enlightening, yet it wasn’t easy to understand the many different customs. I enjoy the Jewish character and vibe of Israel in many facets of the public sphere. Life revolves largely around the Jewish calendar, especially the celebration of Shabbat and festivals. What binds us is our unique, incredible history and heritage.

Had I been better prepared, come with more defined goals, and more socialized in a Jewish environment, I might have fared better. Even when the going was rough, returning was never an option, however. I am living a meaningful life in Israel, where I have mostly resided in the Jerusalem area.

We have all witnessed Israel evolve into a modern, advanced country, making huge strides in every realm imaginable. On occasional visits to Canada, I enjoy the familiar scenery, the cold, the language and pleasantries, though a noticeably different mindset from the locals is apparent.

Immigration is a tremendous and profoundly complex undertaking. It entails much uncertainty and many twists and turns. No matter how much any immigrant plans, one never knows how things will unfold. It is an arduous process that demands full commitment with every fibre of one’s mind, body and soul. Fellow ex-pats can only offer so much support and help. The individual immigrating has to go through the process on their own terms.

Adi and Barak have since returned to Israel. Over a total of eight years away, they learned a great deal about themselves, individually and as a couple. Growing up in Israel, they naturally identified as Israelis, their Jewish identity cultural. While abroad, they realized that they were viewed by others not only as Israelis, but as Jewish, as a minority. This heightened their awareness, added a new dimension.

Time away has changed them, considerably, and they returned to a somewhat changed Israel. They have settled on a kibbutz 20 minutes from Be’er Sheva, where they and their now two children enjoy spectacular scenery in the Negev, a warm climate and a caring community. They have found their home right here, at home.

Adina Horwich was born in Israel to Canadian parents. In 1960, the family returned to Canada, first living in Halifax, then in a Montreal suburb. In 1975, at age 17, Horwich made aliyah, and has lived mostly in the Jerusalem area.

Celebrating Israel together

Israel’s Gilat Rapaport and the InJoy Band headline this year’s Yom Ha’atzmaut celebration on May 4 at the Vogue Theatre. (photo from injoyprod.com)

This year’s Yom Ha’atzmaut celebration on May 4 at the Vogue Theatre, headlined by Israel’s Gilat Rapaport and the InJoy Band, marks 20 years since the first large-scale community-wide event to celebrate Israel’s Independence Day was organized by the Jewish Federation of Greater Vancouver.

“Growing up in Vancouver, the community had occasional large Yom Ha’atzmaut events with Israeli performers and I have wonderful memories of attending them,” said Stephen Gaerber, who co-chaired that first major gathering. “I was incredibly impressed by a large event held to celebrate Israel’s 50th in 1998 at the Orpheum [which was chaired by Judy Mandleman]. It was 2001, the Second Intifada was raging, Camp David had resulted in failure and Israel was, as usual, being disparaged in the press. My friend, Rick Schreiber, had become the chair of the Federation’s Israel department, and I told him that I thought the community should be having large-scale events every year to celebrate Yom Ha’atzmaut and all that is wonderful about Israel. His response was, ‘OK, you chair it.’ That’s how I became chair for the 2002 Yom Ha’atzmaut celebration, first co-chairing with my wife, Shari, and then, starting in 2003, with my brother Allen.”

Of course, local groups celebrated Israel’s birthday in various ways prior to 2002, notably the now-defunct Canadian Zionist Federation (CZF). Bernard Pinsky was CZF chair in the late 1980s.

“In the 1980s,” said Pinsky, “CZF brought in big names from Israel for a Yom Ha’atzmaut concert, including top artists like Nomi Shemer, Chava Alberstein, and Haparvarim. The concert was held at the JCC and wasn’t always right on Yom Ha’atzmaut, it was when the artists were available. The venue meant that we could only sell about 400 tickets, and CZF did a lot of fundraising to cover costs.”

Geoffrey Druker, who still leads the community’s annual Yom Hazikaron (Israel’s Memorial Day) ceremony, said he was recruited by Pinsky to become involved in CZF and it was from Pinsky that Druker took over the role of local CZF chair in the early 1990s.

“We ran most Israel-related community programs,” said Druker, including Yom Ha’atzmaut, Yom Hazikaron, Walk with Israel (which took place on Jerusalem Day), the student public-speaking contest and other programs. When CZF closed nationally, Druker said he gathered past local leaders of the group to decide “whether to become an independent local organization or join Federation.”

The choice was to join the Israel desk at Federation, and Druker continued to chair many of the events, with most of the Yom Ha’atzmaut activities being held at the Jewish Community Centre of Greater Vancouver, he said.

“Federation didn’t have the funds for a large Yom Ha’atzmaut, and we couldn’t risk having a large celebration … while keeping the event tickets affordable to all,” said Druker. “So we ran smaller celebrations and with less-known artists.”

Affordability remained key when Federation, led by a committee put together by Stephen and Shari Gaerber, took over the event.

“Our goal wasn’t to just make it a concert, but a real community celebration,” said Stephen Gaerber. “We kept ticket prices very low so that everyone could afford to attend – and if they couldn’t afford even that, we made free tickets available through JFS [Jewish Family Services]. We invited all Jewish organizations in the city to add their names as Community Partners, and dozens did. We had children from Hebrew Academy, Talmud Torah and RJDS performing in addition to Israeli singer Danny Maseng.

image - The ad promoting the 2002 Yom Ha’atzmaut celebration — The ad promoting the 2002 Yom Ha’atzmaut celebration.

“We were given no budget (other than staff time) for the event from the Federation and I didn’t want one. I was determined that the Federation not take anything away from what they were allocating to local community agencies in order to make this event happen. We believed that the community would support the event and we were right. We raised the funds from generous donors, rented the Chan Centre and signed a contract with the performer. We put tickets on sale and we sold out all 1,200 seats very quickly. The event itself is a bit of a blur, but my most vivid memory is the joy people expressed to us at its conclusion.”

With that success behind them, the goal was to involve even more individuals and organizations in the celebrations.

“For years,” said Gaerber, “Jonathan and Heather Berkowitz wrote a piece for young community members to perform and we were fortunate to have Wendy Bross Stuart direct them. We later added the JCC’s children’s Israeli dance troupes to the program, sometimes joined with dancers from our partnership region in the Upper Galilee.

“Pam Wolfman took over chairing the event in 2014 and continued to tweak things to make sure everything is new and fresh and even better each year, including involving the entire community in the community song,” he said. “What hasn’t changed is the support from the community. To this day, other than staff time, the Federation has not had to give any funding at all towards putting on the event. The group of donors has grown over the years and that allows the event to continue to stay true to our initial vision – tickets are still affordable and many are available at no cost to those who need them – and the events continue to sell out.”

The annual celebration brings Israeli performers – from veteran musicians to up-and-coming singers and musical groups – to Vancouver on Yom Ha’atzmaut.

“For many,” said Gaerber, “it was their first time performing outside of Israel on Yom Ha’atzmaut, as they hesitate to leave the country for this important day. Without exception, they have all expressed how incredibly meaningful it was for them to experience the warmth of our community and its love for Israel. A number of our performers who would not have otherwise considered coming to Vancouver for Yom Ha’atzmaut have only done so because they have heard from other performers about their experience and our Jewish community.

“Despite our Jewish community’s relatively small size,” he said, “we have been told by Israeli diplomats that Vancouver’s Yom Ha’atzmaut celebration, always occurring actually on erev Yom Ha’atzmaut, is one of the largest celebrations of its kind taking place on that day outside of Israel.”

For tickets to this year’s event and a sneak peak at the program guide, go to jewishvancouver.com/yh2022.

Beckow’s music will live on

Joan Beckow, left, Wendy Bross Stuart, centre, and Jessica Stuart, during a visit a few years ago. (photo from Jessica Stuart)

Acknowledging that the music world is “a fickle one in which skill, talent and ingenuity do not necessarily result in widespread acknowledgement or musical reach,” Jessica Stuart said Joan Beckow’s “music deserves to be heard. It deserves to be performed and played for many generations to come, and it is more than good enough to stand next to the work of Leonard Bernstein or Stephen Sondheim.”

Stuart and her mother, Wendy Bross Stuart – accomplished musicians in their own right – are co-directors of the Joan Beckow Project. Stuart is also project manager and producer of the project. Arts administrator Rosie Callaghan handles many of the behind-the-scenes details.

Beckow passed away on Jan. 13, 2021, at age 88. She was a close family friend of the Stuarts, and she and Bross Stuart collaborated professionally for more than 40 years. Jessica Stuart grew up surrounded by Beckow’s music, both because her mother and Beckow had worked together and because Stuart has performed a large body of Beckow’s work. The seeds of the Joan Beckow Project were planted in 2015, when Stuart discovered that none of Beckow’s music was available online and almost none of her choral or musical theatre music had ever been professionally recorded or transcribed. Beckow gave Stuart her blessing for the project.

Beckow started her career with a music degree from the University of California at Los Angeles. At UCLA, she composed six original musicals for the theatre department, where she collaborated with her friend, Carol Burnett. Beckow was resident composer and music director for the Stumptown Players, out of San Francisco, and, when she graduated, she started composing for Holiday Theatre L.A.

Eventually, Beckow found her way to Vancouver, where she worked with many theatres as a composer and music director, including the Playhouse, Carousel and Belfry theatres, as well as with the Shaw Festival. With Bross Stuart, she composed several musicals and, in 2002, It’s All in the Song, a summary of Beckow’s work, premièred at the Chutzpah! Festival.

photo - Joan Beckow, right, with Carol Burnett, in 1958 — Joan Beckow, right, with Carol Burnett, in 1958. *(photo from Jessica Stuart)*

Beckow’s resumé also includes a degree in music therapy from Capilano College, where she was faculty for 10 years. And, over a 25-year period, she wrote original material for the Jewish Community Centre of Greater Vancouver’s Gotta Sing! Gotta Dance! theatre program for youth.

“Part of the reason I think it’s so important to record Joan’s work for the first time, is that, although her pieces have a natural beauty and intuitive sound, on paper (literally, the musical scores), her pieces look very complicated,” Stuart told the Independent. “Many of her songs cycle through multiple musical keys and several time signatures in one piece and I strongly believe that, if we want choral directors, vocalists and instrumentalists to choose this music to perform, they need the chance to listen and fall in love with it first.”

Beckow wrote hundreds of compositions, and Stuart and her mother started talking about song selection long before the project officially started.

“How does one sum up a composer’s career in one album? Well, we decided that we couldn’t, so we made it a double disc,” said Stuart. “One disc will focus on Joan’s musical theatre material, and the other will focus on her classical and sacred music, including many pieces set to text from the Jewish liturgy. There will be 22 pieces in total.”

Also part of the project is a 25-minute documentary, directed by Stuart’s father, Ron Stuart, in collaboration with editor Carlos Coronado.

“We applied to the Canada Council for the Arts, to the Concept to Realization program, in which we were able to define the scope of our project activities to include more than just an album recording,” said Jessica Stuart. “We wanted to tell the story of Joan’s life, culminating in the present-day recording of her debut album, albeit posthumous.”

In addition to the Canada Council support, the project has received support from the Ontario Arts Council and from Beckow’s son, David Beckow. But such undertakings are expensive. This one involves 30 musicians, and recording sessions in both Vancouver, where Bross Stuart lives, and Toronto, where Stuart is based.

“Even with the arts councils’ generous contributions, this massive undertaking still requires more financial support and, with some of this music having waited 70 years to be recorded for the first time, cutting corners is not an option we’re willing to consider,” writes Stuart on the Indiegogo fundraiser page.

As part of the project, Beckow’s songs have been “lush[ed] out.”

“Joan wrote most of her pieces for piano and voices, and the piano accompaniment always felt very orchestral, so adding strings, woodwinds and percussion felt completely natural and somehow brought even more emotional levity to the pieces,” explained Stuart. “The arrangements were done by Wendy and I, separately, but then requiring approval from each other before signing off. We agreed that these arrangements needed to keep a focus on Joan’s actual writing, instead of letting our imaginations run too wild, and we stuck to that. The results are quite wonderful!”

photo - Joan Beckow, in the late 1950s — Joan Beckow, in the late 1950s. (photo from Jessica Stuart)

As for the vocal contributors to the project, Stuart said, “The main consideration here was about getting the right voices for the right pieces. Wendy hired the personnel involved in the musical theatre portion of the album, which took place in Vancouver at Bryan Adam’s recording studio, the Warehouse.

“When I first conceived of this project,” she said, “I recognized that Joan’s classical and sacred music somehow had a kinship with jazz in terms of harmony, so I was eager to get the material into the hands of some of my favourite jazz musicians and improvisers based in Toronto. When choosing the personnel in Toronto, I went for both classical and jazz musicians, and even arranged a few pieces with sections earmarked for improvised solos. As suspected, not only did the music lend itself exceptionally well to improvisation, but Joan’s music had the Toronto jazz scene completely enamoured, and kind of in a tizzy, which was a real pleasure to watch.”

One of Stuart’s longtime favourite Beckow pieces is “Dwelling Places.”

“Joan once told me that she never wanted a harmony to simply exist as an ornament to a melody – that a harmony should be able to stand alone even if the melody were removed,” explained Stuart. “That, to me, is a profound idea, and I’ve always admired the myriad moving lines Joan was able to work into one piece concurrently within the accompaniment and vocal parts of her work. These lines lead you emotionally from one place to another, seamlessly, and all of sudden you have goosebumps and don’t even know why.

“Also, whether Joan was setting her own lyrics, or else poetry by Dorothy Parker, or else Jewish liturgical text, like ‘Dwelling Places,’ to music, she had an incredible gift for being able to mirror spoken cadence and intonation within her melodies.”

Stuart continued, “A new favourite of mine, though, discovered through the process of working on the Joan Beckow Legacy Project, is what I refer to as her ‘instant Christmas classic,’ called ‘A Christmas Wish.’ This is a song that stands up next to ‘Chestnuts Roasting on an Open Fire (The Christmas Song),’ and you can’t help but to imagine Bing Crosby or Frank Sinatra’s voice all over it. And I’m sure we’re all aware of the long-standing tradition of Jewish songwriters creating the best Christmas music, so it’s time we added a female composer’s take to the mix!”

For anyone wanting to know more about the Joan Beckow Legacy Project, there are regular posts on Facebook and Instagram. To contribute to the project via Indiegogo and watch a short video about it, visit igg.me/at/joanbeckowlegacy. There is a six-level range of incentives for donors, from a personal social media shoutout for a $25 gift, to a personal thank you in the liner notes of the album – and all the goodies of the prior levels – for a $1,000 contribution.

Sculpting emotion with glass

Some of Tara Pawson’s Human Beams. (photo from Tara Pawson)

Tara Pawson’s fascination with glass began when she was in high school.

“My dad was a welder,” she said. “He would bring home some metal pieces, and I would fabricate some garden art in our garage. Then, I got a birthday present – a weeklong class of glass-blowing – and I knew that was what I wanted to do with my life. Before that class, I was planning to go to a culinary school after graduation. After it, nothing else but glass.”

Pawson’s solo show, Human Beams, opened on March 22 at the Zack Gallery.

“Glass is a fascinating medium,” Pawson told the Independent. “It combines all the elements: air, fire, wood, metal, water. It is labour-intensive and demanding, and the results are beautiful and fragile. There is a contradiction there.”

photo - Glass artist Tara Pawson at work — Glass artist Tara Pawson at work. *(photo from Tara Pawson)*

Pawson enjoys the process of glass-blowing – despite its inherent danger. “It’s like a game to me,” she said. “I’m not afraid of getting hurt. I have been once or twice, but I love doing it all the same…. When a piece is finished, I always want to do it again, in a different way.”

She loves the functionality of glass, its accessibility to everyone in the forms of glassware or candelabras. “I’m not drawn to huge installations. I want to make art for the people,” she said, “for their homes and their hearts.”

Pawson doesn’t have a classical art education, but she has taken many workshops in a wide variety of glass-blowing techniques over the years. “I apprenticed and I learned,” she said.

At 21, she found a job with Robert Held Art Glass.

“The company created giftware and home decor,” she said. “I learned a great deal there. It was a full-time job, and I did everything: glass-blowing, sales, cleaning. I stayed with them for about eight years. During the week, I worked for the company, but on the weekends, they allowed me to use their glass-blowing equipment, and I started making things for myself.”

Then she moved to a company that created glass light fixtures. “There, I learned to work with a different type of glass, different styles, different process,” she said.

About six years ago, Pawson decided to become an independent glass artist. “After my youngest son was born, it was time,” she said. “I wanted to make my own hours and [have] no commute to work, so I could spend more time with my family.”

For the equipment, she joined Terminal City Glass Coop and rents time when it suits her schedule. She makes some unique artworks.

“I make glass gifts and I make memorial pieces that are very popular,” she said. “Those memorial keepsakes are small glass baubles – hearts or orbs or coins – which incorporate tiny amounts of cremains within the glass matrix. The result is a treasured heirloom. I can make them for several family members, so they will always have a keepsake to remember their loved ones. People love them. One client of mine said she always wanted to travel with her father. After he died, she took the glass marble with his ashes on her travels, so he was with her everywhere. This way, she had no problems with customs – an urn with his ashes might be much harder to pass through customs.”

Pawson’s giftware includes vases and glasses, paperweights and funky little “monsters,” candleholders and Christmas ornaments. She sells her glass in several stores in British Columbia, Alberta and Ontario, as well as online, through her website and her Etsy shop. She is also an active participant in many seasonal markets. Recently, she created a new collection of glass beams, which are included in her current show at the Zack.

“My mother passed away shortly before the COVID lockdown started,” Pawson explained. “I was dealing with my grief and I felt alone in the pandemic. Everything was closed. So I started working on these glass pieces. They helped me process my grief. I thought, maybe I could share it, help others. I never had an art show before. I started asking around how to go about it, whom to approach. I know Hope [Forstenzer] through the Terminal City Glass Coop. I asked for her advice, and she said: ‘Why don’t you apply at the JCC? We have a gallery there.’ I did. This is my first show.”

The show at the Zack, where Forstenzer is director, displays three distinct lines: Human Beams glassware, Thought Towers sculptures and Pearls of Light wall decorations. The Human Beams series works are tall cylindrical glasses of different colours, decorated with mandalas.

“The cylinders start as dark shadowy forms and flow into the bright beams of light,” Pawson said. “They reflect the timeline of the dark days, when the trauma begins, and grow organically towards the light days, when you find peace.”

She explained the symbolism of a mandala, which “represents the universe in Hinduism and Buddhism,” she said. “Their circular design without beginnings or ends is a symbol of a spiritual journey. They illustrate the events, memories and thoughts we have when the emotion of grief consumes us. Some days are darker than others, but, with time, work and support, we learn to ride those waves…. I hand-carved every mandala on every glass. It took me about four hours for each mandala. I think I’m done with them for awhile.”

photo - One of Tara Pawson’s Thought Towers — One of Tara Pawson’s Thought Towers. *(photo from Tara Pawson)*

The Thought Towers are sculptural compositions, orbs of various sizes and colours growing like a tree out of each other. The lighter, bigger orbs echo lighter emotions, like hope or joy, but they are always interspaced with small dark orbs of desperation, guilt or anger. “The Thought Towers convey a spectrum of emotions,” said Pawson. “As we deal with grief, we have good days and bad days. Anything could trigger a crippling emotional response – a song, an image, a TV episode. But we have to remember that good days always follow the bad ones.”

And then, there are the Pearls, each one hand-formed, each a complex and beautiful glass tablet. “Each one is a person or an event we encounter in our daily lives,” Pawson said. “Pearls of Light, or Baily’s Beads, are a phenomenon seen during a sun eclipse. These spots of light encircle the moon. They resemble a string of luminous beads, visible immediately before and after a total eclipse. They are the people around us, our family and friends.”

Pawson’s exhibit is on display until April 28. For more information about her and her work, visit her website, tarapawson.com.

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

Opening of hearts

In this Vancouver Playback Theatre screenshot are, top row, left to right, Peter Abrams, Diandra Lee and Laen Hershler; middle row from left, Ingrid Broussillon, Joel Bronstein and Louise Lemieux; and Carol Ann Fried.

If you want to see tikkun olam in action, see the next performance of Vancouver Playback Theatre (VPT). For the last 23 years, the ensemble has been retelling audience participants’ life stories with sensitivity and compassion.

At VPT’s March 6 show, brightly coloured scarves, banners, dance, piano music and improvisation “played back” individual audience experiences of and the accompanying emotions caused by antisemitic events and other forms of discrimination.

“We really want audience members to feel seen, understood, and learn from the playback experience,” VPT’s Peter Abrams told the Jewish Independent.

Fellow Jewish community and troupe member Joel Bronstein added, “Our work takes audience members out of their heads and into their hearts … when people share their feelings and life experiences in a safe and supportive environment, there is a collective opening of our hearts, even when it is light and funny.”

Playback Theatre was created in New York 47 years ago with the intention of returning theatre to its storytelling and community-building roots. With troupes now established worldwide, Playback Theatre directly engages participants in sharing experiences and ideas related to themes of importance to them individually, and as groups, organizations and communities.

Abrams, Bronstein and Carol Ann Fried, who is also a member of the Jewish community, have all been part of the ensemble for more than two decades. Fried’s most memorable audience story involved a father talking about the love he had for his son.

“As he was speaking,” she said, “I wanted to sing a song about his love. I knew there was a Cat Stevens song called ‘Father and Son’ but I couldn’t remember the words or the melody. The only song I could think of was ‘You are the Wind Beneath My Wings,’ and I sang a few lines.”

After the show, the father told Fried that he had made a video of his son when his son was younger and the sound track was “You are the Wind Beneath My Wings.”

“That’s the magic of Playback,” said Fried. “It’s Hashem in action.”

Abrams remembers a story about a woman who found herself attracted to two men who were both interested in her, and she was wondering what to do about her pleasant dilemma.

“In the playback, myself and another male actor represented the two suitors in an old-fashioned duel that was a slow-motion dance, also using fabrics,” said Abrams. “We ended in a draw, appealing to the teller [audience participant] to decide. The teller and the audience loved it, and the teller realized she didn’t need to rush any decision, and decided just to enjoy the experience.”

There seems to be no limit as to what can be expressed in performances with VPT and what insights can be gained.

Fried said she has particularly enjoyed playing “non-literal parts.” For example, she has played a table at which two people fell in love, she has played the feelings of love and has even played internal organs. She said she has learned to trust that her creativity will emerge when invited.

Bronstein remembers when he had to play back a story about a violent character. “Although I symbolically represented the violence, when the story was finished my body was shaking intensely,” he said.

It’s not surprising that VPT works with organizations that help others, such as the Kitsilano-Fairview Mental Health team and Oxfam Canada.

“When we do a workshop for an organization or a community group, we often start with a short performance on an issue, and follow this with breakout groups where participants can dialogue on what they’ve learned and where to go from here on the issue,” Abrams said. “The groups we work with are focused on progressive social issues, so we contribute to forward movement on these issues through our workshops.”

VPT offers a variety of services, including public and conference performances, workplace conflict resolution workshops, peace-building in schools, community engagement projects, and Playback skills training, in person (when possible) and virtually (via Zoom).

Fried said she has learned a lot about the human condition through working with culturally diverse audiences. “Although our lives, cultures, religions and life experiences are different, we all value and care about the same things,” she said. “We all have the same variety of feelings. I feel connected on an internal level with each teller.”

When they aren’t together storytelling, Fried runs her own company and is a keynote speaker, workshop leader and coach; Bronstein is the executive director of Little Mountain Neighbourhood House; and Abrams runs his own organizational development consulting business.

The other members of the ensemble are Diandra Lee, Laen Hershler, Ingrid Brousillon, Louise Lemieux, Laurie Damer and Matthew Spears.

The troupe’s website is vancouverplaybacktheatre.com. Their next online public performance will be on June 26 in honour of World Refugee Day, which is June 20.

Cassandra Freeman writes stories with the support and love of her husband, Irwin Levin.

Bar mitzvah reveals tensions

Nicholas Guerriero, left, Lorene Cammiade and Rudy Smith rehearse a scene from Bema Productions’ staging of Men Overboard, which will be at Emanu-El Synagogue’s Black Box Theatre May 5-15. Guerriero plays Jay Silver, a Buddhist monk and the youngest son of Zaida Ernie, Cammiade portrays Eva Fuzesi, the bar mitzvah tutor from Hungary, and Smith plays Doug Silver, Ernie’s middle son and a psychotherapist. (photo from Bema Productions)

Next month, Victoria’s Bema Productions mounts the first full production of Men Overboard.

Winner of the Long Beach Playhouse New Play Contest and a finalist for the Woodward-Newman New Play Award, Men Overboard was written by Rich Orloff. After well-received readings and workshops in New York, Philadelphia, Long Beach and Dayton, the play comes to Victoria, where the première will be directed by Kevin McKendrick.

photo - Things get rough in Men Overboard: Rudy Smith puts a (fake) stranglehold on Nicholas Guerriero — Things get rough in Men Overboard: Rudy Smith puts a (fake) stranglehold on Nicholas Guerriero. *(photo from Bema Productions)*

The play focuses on a bar mitzvah for a boy, Abraham, who doubts he’s ready to become a man. The event brings together Abraham’s politician father and the father’s two brothers, a therapist and a Buddhist monk. Add their fading but forceful father and Abraham’s bar mitzvah tutor, a woman who loves Abraham and possibly one of his uncles, and it’s easy to see that Abraham is torn between obedience and defiance of his father. Tensions grow, affecting everyone in the family, until anger becomes abuse and it becomes clear that the family’s status quo is no longer an option. Men Overboard asks “What makes a man?” as it explores the responsibility each of us has to protect the souls of those we love.

The Bema production stars Lorene Cammiade, Nicholas Guerriero, Asa O’Connor-Jaeckel, Evan Roberts, Alf Small and Rudy Smith. It is produced by Alan Segal and takes place May 5-15 at Congregation Emanu-El Synagogue’s Black Box Theatre, 1461 Blanshard St. For tickets ($25) and showtimes, visit eventbrite.ca/e/295008758137.

– Courtesy Bema Productions

Take a comedy break

Left to right, Ori Laizerouvich, Israel Atias, Daniel Gad and Omer Perelman Striks co-star in The New Black. (photo from ChaiFlicks)

I have to improve either my Hebrew comprehension or my English speedreading skills before April 12. The second season of The New Black premières that day on ChaiFlicks and it’d be great if I could understand more of what was going on – even with my limited capacity, the first season was an absolute blast.

Also recently premièring on the streaming service ChaiFlicks, which carries all sorts of Israeli films and TV shows, was the second season of Checkout, an Israeli comedy in the tradition of American sitcoms Superstore, The Office and Parks and Recreation. It has some seriously funny moments, though a couple of the characters may grate on folks, as some of the characters on the aforementioned American shows did.

Superstore takes viewers into an Israel that most Jews will recognize, but that will be less familiar to those whose only experience of Israel is via the news. The show is set in a small supermarket, Issachar’s Bounty, in a small town, Yavne. The store’s patrons are regulars, and one in particular, fanny-packed customer Amnon, who has a complaint or gets into a confrontation every time he comes in to shop, is particularly annoying, as often is his main sparring partner, the brash cashier Kochava. But the other characters – notably Shira, the store manager who idolizes and sees herself as an up-and-coming Steve Jobs – offer enough less-in-your-face humour that the show is well worth watching if you like reality-show-type comedies. As in the other shows of this genre, there is a camera crew making a documentary about the store, so the characters not only interact with one another, but express their views in interview snippets with the film crew.

photo - The cast of Checkout, left to right: Amir Shurush, Noa Koler, Keren Mor, Yaniv Swissa, Dov Navon, Daniel Styupin and Aviva Nagosa — The cast of Checkout, left to right: Amir Shurush, Noa Koler, Keren Mor, Yaniv Swissa, Dov Navon, Daniel Styupin and Aviva Nagosa. *(photo from ChaiFlicks)*

In the guise of humour, many a true observation is made in Superstore, which touches upon social inequality, terrorism, racism, homophobia and many other issues. Viewers can choose to just laugh at the goings-on depicted or they can take more away from the show. The same can be said of The New Black, which has some uncomfortable moments – for example, are we supposed to laugh when one of the yeshivah students is appalled when his matchmaker sets him up with a woman who uses a wheelchair? I don’t think so. I think we’re supposed to be appalled at his behaviour, behaviour that one can easily imagine of many self-absorbed 20-something guys who fancy themselves a prize despite all evidence to the contrary.

That the four yeshivah boys at the centre of The New Black seem like regular college-age men is why the show has broad appeal. That is does, while also being packed with somewhat-high-level (to non-Orthodox Jews) talmudic discussions, is a notable achievement. It is easy to see why the show was nominated for eight Israeli Television Academy Awards. It is smart, engaging, fast-paced and has a fantastic soundtrack. While non-Jews will have to watch it with a semi-knowledgeable Jewish friend and non-Hebrew-speaking Jews will occasionally have to press pause to take in the subtitles fully, The New Black has legs … and Borsalinos aplenty.

For access to these two comedies, and many other programs, visit chaiflicks.com.