Image – Page 2

Photography and glass

Wes Bell’s photography and Hope Forstenzer’s sculptures are on display at the Zack Gallery until May 18. (photo by Sarah Dobbs)

The current exhibition at the Zack Gallery is actually two separate shows: Wes Bell’s series of black and white photographs, called Snag, which is part of the Capture Photography Festival, and Hope Forstenzer’s glass sculptures, called If Not Now, When?

The connection between the artists’ works is not immediately obvious.

“I was initially drawn to the idea of colour and black and white and the impact that would have on the visitors to the gallery,” curator Sarah Dobbs explained. “Both Wes Bell and Hope Forstenzer use everyday materials and imagery to explore complex emotional experiences, transforming the ordinary into something deeply symbolic. Their works consider ideas of vulnerability and change, whether through Bell’s weathered landscapes of loss or Forstenzer’s delicate glass forms that capture fleeting human feelings. Together, they create a dialogue about presence, inviting people to consider the fragility and urgency of being alive.”

Bell hasn’t always photographed in black and white. After he graduated from the Alberta College of Art in 1980, he worked as a fashion photographer, first in Milan, then in New York. “I was well known for my colours and my attention to details when I was in fashion,” he said. “I was published in many prestigious magazines, but I burned out after awhile. The commercial freelance roller-coaster hollowed me out.”

In 2008, the global financial crisis was the final straw. He fell into depression. “I felt that my life had too much colour,” he said. “I needed to simplify, but I didn’t know what my new direction should be.”

He went back to school. “I took classes in the history of photography and history of cinema, among others,” he said.

Bell returned to Alberta to say goodbye to his mother, who was dying of cancer. “As I drove back to the airport, my attention drifted to the roadside, to the flapping remnants of plastic bags snagged in barbed-wire fences running alongside the highway,” he recalled. “Mile after mile, the fences lining the ditches were embellished with forgotten shreds of plastic, whipped by the wind. They might’ve been blown off trucks or thrown away out of cars. Frayed, lacerated and punctured, they drew me in. There was melancholy there that resonated, like souls of the people we lost or wings of some fantastic creatures. I stopped the car and took photos.”

He uploaded the photos to his computer and converted them to black and white, to reflect his sadness. “Seven weeks later, Mom passed away. It is in remembrance of her that these images first came to life,” he said.

Bell returned to those ditches and fences. “I came there for three years, from 2015 to 2017, to photograph those bags fluttering in the wind. I photographed 68 different sites, always during the transitional season from winter to spring, when everything appeared dead, when no green vegetation, foliage or flowers distracted from the forms. Every time I took photos, I removed the bags from the barbed wire and put them in the closest garbage bins. I tried to take care of the environment.”

photo - "Snag - 11th Avenue NE, Medicine Hat, AB, Canada, 2015," a photograph by Wes Bell. — “Snag – 11th Avenue NE, Medicine Hat, AB, Canada, 2015,” a photograph by Wes Bell.

For Bell, these images symbolize his grief over the loss of both his parents. His father passed away just a few weeks before the show opened.

“This show for me is about loss and memory, about the universality of grief, not just for my parents but for everyone who dies. There is so much death in the world right now, so much oppression,” he said. “And mourning and funerals in many cultures around the world are often associated with black. That’s why I decided to go with the black and white approach. My original, coloured pictures don’t have the same impact.”

In contrast, Forstenzer’s sculptures are infused with colour. Only one sculpture is white – “Spine.” Every vertebra of that twisty glass spine is inscribed with a negative emotion: despair, trapped, brittle, inferior, inadequate, doomed. The little sculpture inspires profound sadness.

“It is about my sister’s spine,” said Forstenzer. “She has severe scoliosis. She has been grappling with many health issues for years, and this unnaturally curved spine is symbolic of her problems.”

Forstenzer’s road to glass artistry was somewhat convoluted.

“My background is in graphic design, photography and film. I’ve been writing stories since childhood, but I always wanted to have a visual aspect for my stories, too,” she said. “For years, I was the artistic director of a multimedia company in New York. We worked on short avant-garde plays: mine as well as ones written by others. We produced them around New York. It was an amazing job, very interesting and successful, but it didn’t pay the bills.”

For that, she worked as a graphic designer. She also taught graphic design, first in the United States – New York, Seattle, Baltimore – and, later, in Vancouver, after her wife accepted a job at BC Children’s Hospital in 2012 and the family moved here. Forstenzer taught at Emily Carr and Simon Fraser.

After years of working hard but being unable to make a living with art, Forstenzer was burned out. “There is no system to support artists in America,” she said. “We all need a day job to survive. Or a spouse with a paying job, if we are lucky. I’m one of the lucky ones.”

Forstenzer started looking for a new direction.

“I lived down the street from Urban Glass Studio in Brooklyn. I took a class from them and paid in kind with my graphic designer services. I was 30 years old and I fell in love with glass. I knew it was the medium for me, the way to express myself, to tell my stories. In theatre, in painting, in photography, the artist provides the focus, and his audience accepts it. But with glass, my story might be totally different from the one my viewers see. Everyone sees glass through their own life experience, supplies their own interpretation.”

At first, glass art was a hobby.

“I wanted more glass classes – there is so much to learn,” she said. “We moved to Seattle. I took more glass classes and always negotiated to pay with my designer skills for the studio time.”

photo - "Omen 2" by Hope Forstenzer — “Omen 2” by Hope Forstenzer. *(photo by Olga Livshin)*

After moving to Vancouver, glass became her full-time artistic practice, and she joined the Terminal City Glass Co-op.

“When Sarah [Dobbs] asked me if I would like to share the show with Wes Bell, I agreed. I thought it would be a nice contrast. Wes’s photos are all about grief and desolation. I find my place in between grief and optimism. The world is a mess right now, but I want to believe that we can pull through if we act now. That’s why I called my part of the show ‘If Not Now, When?’” said Forstenzer. The famous saying is attributed to first-century BCE sage Hillel the Elder.

Two sculptures of wings attract the attention of everyone who enters the gallery. Both are parts of Forstenzer’s series Dream of Flight. “I made 12 sets, all belonging to different winged creatures, for a show in 2021,” she said. “You know, every human religion, every system of spiritual belief, uses wings or winged creatures in some way.”

Another memorable work is “Mourners.” Four small glass figurines, abstract depictions of people in mourning, occupy a stand in the middle of the gallery. Their bright, intertwined, yellow-and-blue hues shine against the black and white of Bell’s photographs.

“I don’t think grief is always dark or colourless,” said Forstenzer. “When my mom died, I grieved, but I also remembered her beautiful heart and the colours she brought into my life. Death doesn’t remove the colours of our memories. I think it is a different aspect of grief, just as there are different ways to tell the same story.”

The two shows run until May 18.

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

Nakba exhibit biased

The following is the executive summary of the study The Canadian Museum for Human Rights and Its Nakba Exhibit: Bias and Animus in Process and Outcome and the Nature and Impact of the New Antisemitism in Canada, written by Dr. Bryan Schwartz, a professor of law at the University of Manitoba, and Rhonda Spivak, LLB, editor of the Winnipeg Jewish Review. It is reprinted with permission, edited for JI style and length. The exhibit is set to open in June. For a link to the full study, go to winnipegjewishreview.com.

The proposed Nakba exhibit at the Canadian Museum for Human Rights (CMHR), titled Palestine Uprooted: Nakba Past and Present, is not a balanced exploration of displacement. It is a partisan exercise in the demonization and delegitimization of Israel – driven from its inception by a process whose composition predetermined its outcome.

A publicly funded national museum exhibiting biased content that vilifies one national/ethnic group’s homeland constitutes a discriminatory denial of equitable human rights education.

The process and work product – to the extent it is already available – are not consistent with the CMHR’s statutory mandate under the Museums Act, the Canadian Human Rights Act (CHRA), the International Holocaust Remembrance Alliance (IHRA) definition of antisemitism adopted by both Canada and Manitoba, and the ethical codes of the Canadian Museums Association (CMA) and International Council of Museums (ICOM).

The bias is structural and traceable. The CMHR assembled a Palestinian Content Advisory Network whose membership was kept opaque – referenced once in the 2022/23 annual report and then deleted. Investigation reveals that its members hold views that are hostile to Israel and not sustainable on a fair-minded analysis of history and current realities.

Ramsey Zeid, president of the Canadian Palestinian Association of Manitoba and member of the advisory network, has publicly called Zionism a “disease that must be destroyed,” accused Israel of genocide, rationalized the Oct. 7 massacre as Palestinians “biting back,” and condoned violent intifada with language such as “intifada revolution … scorch the earth.” Other advisory network members have framed Israel as an apartheid settler-colonial state, endorsed the boycott, divestment and sanctions (BDS) movement, advocated one-state solutions that would deny the right of the Jewish people to their own state, have accused Israel of genocide at its founding and in Gaza, and compared Israel to the Nazis. The CMHR cannot credibly claim that work product shaped by this group is free of bias and animus rather than driven by it. By including persons with such views in an official advisory committee, it has extended official recognition and an aura of respectability to them.

The process excluded and marginalized the mainstream Jewish community at every stage. There was no public consultation of the kind that accompanied the Holocaust gallery. The Jewish Heritage Centre of Western Canada withdrew its partnership with the CMHR over the exhibit. The Centre for Israel and Jewish Affairs (CIJA) warned that the exhibit would deliver an incomplete and unbalanced narrative that would omit Jewish refugee experiences. The Abraham Global Peace Initiative (AGPI) wrote to the CMHR, the minister of Canadian Heritage and the prime minister requesting suspension.

Jewish organizations who supported the exhibit are fringe anti-Zionist groups, such as Independent Jewish Voices (constituting at maximum 0.2% of Canadian Jews, this report places them around 0.0025% of Canadian Jews), the United Jewish People’s Order (expelled by the Canadian Jewish Congress in 1951, and whose membership has never surpassed their 1950s numbers, placing it well below half a percent of Canadian Jews; it seems that their largest attended event in recent years was around 350 people total) and the Jewish Faculty Network (less than 0.05% of Canadian Jews). IJV and UJPO were involved with the organization that organized a Nov. 2, 2025, panel at which the exhibit’s director discussed her involvement in the exhibit.

The exhibit’s content is equally one-sided. The CMHR’s potted history, as per its website, attributes Palestinian displacement primarily to Jewish and Israeli armed forces while omitting critical context: Jewish acceptance of the 1947 UN Partition Plan, repeated Arab rejection of two-state solutions, the invasion by five Arab armies to destroy the nascent Jewish state, over a century of lethal anti-Jewish violence in Mandatory and Ottoman Palestine (documented from at least 1834), the ethnic cleansing of approximately 850,000 to 900,000 Jews from Arab countries after 1948, and the documented pattern of rejectionist violence against moderate Palestinians who favoured coexistence.

The very term “Nakba” – originally coined to describe the catastrophe of Arab armies’ failure to destroy Israel – has been recast to frame Israel’s founding as an illegitimate catastrophe, implicitly justifying campaigns to eliminate it. The CMHR exhibit instead insists that “Nakba” refers only to the displacement of Palestinians and avoids acknowledgement of Arab rejection of the two-state solution, of the right of Israel to exist as the Jewish homeland, and the armed invasion of Israel by the armies of five Arab states aimed at Israel’s destruction.

The museum’s diversity policies require representation of multiple perspectives, especially on contested histories, which in this case requires presenting sources that nonviolent Palestinian villages were allowed to stay, multiple Arab sources showing calls by Palestinian leadership and Arab states for evacuation of villages to further the Arab war effort, or leave rather than give the nascent state of Israel legitimacy…. Since Israel is an open society, multiple lines of scholarship diverge. That is not the case in Arab states, which have not opened their archives. Nor is it the case in the Palestinian Authority, where President [Mahmoud] Abbas made “Nakba denial” a crime subject to jail terms.

The exhibit, as Zeid’s own statements make plain, rests on a double game. The exhibit is presented as a collection of individual personal narratives – merely “telling stories” about the effects of displacement, yet it simultaneously advances “the story” that is supposedly the single overall historical truth. The audience is expected to accept these personal narratives as historical fact, even in the context of an advisory network whose documented members variously call Zionism a “disease” or a virus that must “be destroyed” and adopt other epithets that demonize and delegitimize the Jewish state.

It is known that oral histories can contain varying degrees of fact and can be coloured by “collective memory” – political perspectives on past events that are widely shared but may not reflect fairly or fully the actual events of individual lives in earlier generations. Judging from the composition of the Palestinian Content Advisory Network, we can expect these stories to be infused with negativity towards Israel and a lack of any historical context.

In practice, we can expect that many or all narratives in this exhibit may be an occasion to vilify Israel, from its foundation until the present. For example, it may speak of checkpoints without mentioning the suicide bombings that necessitated them, of displacement without mentioning Jewish acceptance of partition and Arab rejection of it, of suffering without acknowledging that it was Arab rejectionism and aggression that created the refugee crisis in the first place.

The “personal story” framing is a shield against accountability: it permits the museum to disseminate a partisan political narrative while disclaiming responsibility for its historical claims. This exhibit will contribute directly to the rising tide of antisemitism that has made Canada an increasingly dangerous place for its Jewish citizens, as documented in … this report.

This selective framing constitutes the “Three Ds” of antisemitism identified by Natan Sharansky and popularized in Canada by former justice minister Irwin Cotler: demonization, delegitimization and double standards applied to Israel. It occurs at a time when Jews face the highest per capita hate-crime targeting of any group in Canada (Statistics Canada). Many Jewish Canadians feel unsafe in their own country, even though both Prime Minister Justin Trudeau and Prime Minister Mark Carney publicly affirmed Zionism and Israel’s right to exist and prosper. Those are the rights that the advisory network has dismissed for this exhibit.

The CMHR, in the aftermath of the genocidal attack on Israel in 2023 and the ongoing brutalization of hostages, allowed an unauthorized pro-Palestinian “die-in” inside the museum. This “die-in” was allowed while refusing a request from supporters of Israel for a counter-demonstration, a disparity that exemplifies the institutional bias at work. [CMHR vice-president of exhibitions] Matthew Cutler’s public statements at the time made it unmistakable that the museum had already promised off the books, without public consultation from the Jewish community, to include an exhibit that focuses on the contested oppression of Palestinians by Israel.

Officials of the CMHR have, on the public record, favoured anti-Israel fringe groups while showing disrespect for the groups that represent the overwhelming majority of Jewish Canadians. The museum has not been transparent with the general public or the mainstream Jewish community. This invites the question of how transparent museum bureaucrats have been with the museum’s own board of trustees, who are responsible for fulfilling the museum’s mandate and maintaining its reputation.

The exhibit in its current form must be halted. The CMHR must commission an independent historical review by balanced, credentialed experts. It must require transparent public consultation, including meaningful engagement with mainstream Jewish Canadian organizations; ensure the exhibit includes parallel refugee stories, Arab rejectionism, the full context of the conflict; and conduct a governance audit of curatorial processes to prevent future partisan capture.

Proceeding instead risks CHRA complaints, further reputational damage and continued erosion of public trust in a taxpayer-funded national institution whose mandate is to promote universal human rights, not to serve as a vehicle for the delegitimization of the Jewish state.

Film festival starts next week

Jackie Tohn, left, and Sarah Podemski play longtime best friends Nomi and Mara in The Floaters. (still from film)

The Vancouver Jewish Film Festival opens on April 30 with the award-winning The Ring (Israel/Hungary) and closes on May 10 with the multiple-award-winning Once Upon My Mother (France/ Canada). In between, there are more than two dozen films from several other countries, most of which have been recognized with honours.

Among the offerings at this year’s festival are two locally produced documentaries that the Jewish Independent has reviewed previously: Becky Wosk’s One Thread (jewishindependent.ca/different-but-connected) and Kai Balin’s Son of a Seeker (jewishindependent.ca/sharing-a-personal-journey). Each young filmmaker engagingly investigates, in different ways, what it means to be Jewish. Both docs screen on May 3.

Also screening on May 3 is the American film The Floaters. Leading the cast are Jackie Tohn (Nobody Wants This) and Sarah Podemski (Reservation Dogs) as longtime best friends Nomi, a struggling musician, and Mara, a struggling Jewish summer camp director. When Mara finds herself a counselor short at the last minute, she asks Nomi, who just got fired from her own band, to step in. Reluctantly, Nomi agrees and Mara puts her in charge of a group of teens who don’t fit in at camp for various reasons and who didn’t sign up for any activities – hence, they are “floaters.”

Directionless in life herself, Nomi proves an apt mentor to these lost kids. She learns from them, they learn from her. Nomi and Mara’s friendship is put to the test, the kids are put to a test. It’s a charming movie, with plenty of laughs, that, thankfully, doesn’t resort to crude gags, though a malfunctioning septic tank does add a lightly gross element.

The Floaters is a coming-of-age film about friendship and second chances, firmly rooted in Jewish traditions, from Orthodox to secular, featuring characters who are Jews by birth and Jews by choice. It has a John Hughes-esque feel and a few actors who were popular in the 1980s/1990s have supporting roles. But director Rachel Israel makes the film her own, and Nomi, Mara and the young misfits are at the movie’s heart.

image - Ruth (Niv Sultan) organizes an unorthodox picnic date for her and Baruch (Maor Schwitzer) in Matchmaking 2 — Ruth (Niv Sultan) organizes an unorthodox picnic date for her and Baruch (Maor Schwitzer) in Matchmaking 2. *(still from film)*

Matchmaking 2 (Israel), which screens on May 5, also has a misfit at its heart. Many of the actors from the first movie reprise their roles, including Maor Schwitzer as Baruch Auerbach, a former rising star scholar in his ultra-Orthodox community, now in his late 20s and yet to find a wife. There is no need to have seen the first movie to fully enjoy its sequel. The characters are likeable and, even when Baruch acts like an idiot, you still cheer for him and hope that he’ll find his match.

While Matchmaking 2 gives viewers a glimpse into the cultural differences between Ashkenazi and Sephardic Jews, and into the ultra-Orthodox shidduch (matchmaking) system, it is mainly a rom-com. As The Floaters does, the movie celebrates Judaism and Jewish life with humour, tenderness and respect.

As entertaining, in a completely different way, is the documentary The Stamp Thief (United States/ Poland/Germany), which screens May 7.

The Stamp Thief, produced/directed by Dan Sturman, is fascinating on many fronts. The filmmakers make a potentially convoluted detective story into an easy-to-follow “page-turner” and there are a few moments where you’ll find yourself holding your breath. There are also many moments – well after the film – where you’ll be thinking about humanity’s capacity for doing good and evil, intergenerational trauma, generational responsibility, and many other issues.

photo - Dan Sturman, left, Dylan Nelson and Gary Gilbert in front of the building in Poland, where the stolen stamps were buried in 1945 — Dan Sturman, left, Dylan Nelson and Gary Gilbert in front of the building in Poland, where the stolen stamps were buried in 1945. *(photo from Boxhead Films)*

In The Stamp Thief, it’s refreshing how open the filmmakers are about the morality of what they’re trying to do – steal back for the Jewish community some rare stamps that were stolen by a Nazi officer whose task was to catalogue and appraise the possessions being stolen from Jews entering Auschwitz. The conversations between producer/writer Gary Gilbert and his family are uplifting, even as his family questions his motives and actions, because that’s what loved ones should do – be supportive but not uncritically so.

The story behind the filmmakers’ quest came from screenwriter David Weisberg’s father, who was a psychiatrist. His dad had a patient in the 1970s who was married to the daughter of a former Nazi. The patient revealed that his father-in-law had buried a case of stolen stamps in the basement of his home in Legnica, which was part of Germany until 1945, but is now in Poland.

Weisberg had no desire to return to Poland, but his friend Gilbert was game, and Gilbert had a plan – one based on an elaborate “fake movie” scheme that Weisberg’s father had

drawn up in the ’70s. Sturman would direct a fake film, giving him, Gilbert, producer Dylan Nelson and their handpicked team a non-controversial reason to explore the former Nazi’s apartment building. The help they receive from Polish film professional Sylwia Szczechowicz-Warszewska is moving, and the resulting documentary is compelling.

The Vancouver Jewish Film Festival runs April 30-May 8 at Fifth Avenue Cinemas, which is a 19+ venue, and concludes on May 10 at the Rothstein Theatre with a few films. For the full lineup and tickets, go to vjff.org.

Musical with heart and soul

Left to right: Josh Epstein, Lisa Horner, Steffanie Davis and Madeleine Suddaby in the Arts Club Theatre Company’s production of Kimberly Akimbo, now at the Stanley until May 3. (photo by Moonrider Productions for Arts Club)

High school is a time of often-volatile highs and lows, joys and sorrows. Now, imagine you are 16 years old but look 72 because you have a disease that ages you faster than normal – a disease that limits your life expectancy to your teens. How do you cope with the stresses of having to pack a lifetime into a few short years while dealing with an über-dysfunctional family?

This is the premise of the quirky Tony Award-winning musical Kimberly Akimbo (best musical, 2023) now at the Stanley Theatre to May 3, presented by the Arts Club. This is not your traditional big-cast musical with toe-tapping songs you sing on the way out of the theatre. With a cast of only nine, Kimberly Akimbo is a layered and nuanced look at who and what we are as humans. Although it takes time to get into the story, the reward comes at the end.

Kimberly Levaco’s family has just moved to small-town New Jersey and she is starting in a new school. The curtain rises on Skater’s Planet, where four Breakfast Club-type misfits (with assorted gender identification and unrequited love issues) are planning ways to raise money to buy school choir costumes. Tuba-playing, nerdy Seth (Jason Sakaki) works behind the counter and is obsessed with anagrams. Enter new-kid-on-the-block Kimberly (Lisa Horner) and cue the teenage politics and romantic possibilities.

Kimberly’s blue-collar family is made up of alcoholic father Buddy (Jewish community member Josh Epstein); narcissist, hypochondriac mother Pattie (Steffanie Davis); and bombastic in-your-face Aunt Debra (Madeleine Suddaby), an ex-con on parole who devises a mail fraud scheme into which she ropes her niece and her niece’s chums.

Horner, who’s in her 50s, has the daunting task of playing Kimberly, an angst-ridden teen in an adult in body – though, when with her family, Kimberly is the only adult in the room. Horner does a terrific job in this role reversal, and she can sing too! At the end of the day, the characters, as flawed as they are – and they are flawed – are likeable, as they grapple with their trials and tribulations. The message: life is finite, so seize the day.

While the songs are not that memorable, Suddaby and Davis can really belt them out. Epstein pleases with two solos and demonstrates some nifty moves in the skating scenes, as do the rest of the cast – kudos to choreographer Shelley Stewart Hunt.

On the design end, the curtain opens on a stark set featuring steel girders and battered school lockers, yet transitions easily from the skating rink to the Levaco home to the school library to the colourful Sweet 16 party and ultimate road trip, the latter backed by large-scale projections. Jewish community member Itai Erdal’s lighting design runs the spectrum to complement each of the changes. To complete the 1990s atmosphere, costumer Stephanie Kong has the teens decked out in grunge and the adults in Value Village-type garb.

Epstein shared his feelings on the show in an email interview.

JI: What drew you to audition?

JE: It’s really an acting role that just happens to live inside a musical, which is my sweet spot. I’ve also loved David Lindsay-Abaire’s writing forever. He has this stream-of-consciousness, offbeat style that I’m really drawn to.

JI: How would you describe your role?

JE: I see him as a deeply loving dad who just doesn’t have the tools or capacity to show up the way he should. He’s overwhelmed, a bit lost in his own fear and vices, and trying to hold onto joy while knowing time isn’t on his side.

JI: What is the message for audiences?

JE: We’re all on a clock, whether we think about it or not, and this show gently forces you to face that. It’s about how beautiful life becomes when you really understand how limited and rare it is.

JI: As far as musicals go, and you have been in many, how would you rank this one in terms of the music, lyrics and choreography?

JE: It’s incredibly smart. Everything has to be precise for it to land and, when it does, it’s kind of genius. The writing, music and movement all support these beautifully strange, nuanced characters in a way you don’t see very often.

JI: What is the energy like with your fellow cast members?

JE: We genuinely love each other and it shows. We’re having a blast even when the material gets dark. There’s a real sense of trust and play, which you need for a show this zany and heartfelt.

JI: Why should people come and see the production?

JE: It’s one of those weird, wonderful shows that only works because it’s so specific and honest, it’ll surprise you, make you laugh, and hit you harder than you expect. Plus, it’s a Tony-winning piece that doesn’t feel like anything else out there, brought to life by an incredible local cast.

For tickets, go to artsclub.com or call 604-687-1644.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

Rabbi marks 13 years

Over the weekend of May 8, Temple Sholom celebrates Rabbi Dan Moskovitz’s “bar mitzvah” year as leader of the congregation. (photo by Pat Johnson)

Rabbi Dan Moskovitz will celebrate his bar mitzvah for the third time on May 9. Marking 13 years since his arrival as senior rabbi at Vancouver’s Reform Temple Sholom, the congregation is fêting him with a 1980s-themed bar mitzvah party.

Moskovitz may experience a sense of déjà vu, since he had not one but two bar mitzvahs in 1983.

“My dad was president of the Reform congregation and vice-president of the Conservative synagogue,” the rabbi said of growing up in Foster City, in the San Francisco Bay Area. “I’m a Jewish mutt, I like to say.”

He had a Reform bar mitzvah on Friday night and a Conservative one on Saturday morning. The weekend of his Temple Sholom celebration will be similarly packed.

Friday night Shabbat services are open to the entire community, with speakers reflecting on his tenure, something that makes Moskovitz feel awkward.

“It’s weird to say, ‘Can you talk about me?’” he said. “I love showering praise on others. I truly don’t want to be the centre of attention.”

He understands, though, what the moment represents, not just for him, but for the congregation.

“I recognize that I play a significant role in people’s lives at the most important times,” he said. “That’s a privilege.”

Letting people say thank you, he added, is part of that relationship.

Moskovitz, commonly known as “Rabbi Dan,” has no similar reluctance when it comes to the menu for the Friday night Oneg, which will be stocked with his favourite desserts – Rice Krispie squares and caramel apples.

Saturday morning will belong to someone else entirely: a bar mitzvah boy whose thunder Moskovitz is not about to steal. “This is all about you,” the rabbi assured him.

The Saturday night party will be ’80s nostalgia – but tasteful, Moskovitz promised. Members of the congregation will speak, as will Rabbi Philip Bregman, Temple Sholom’s rabbi emeritus, and leaders of the broader community. Tickets are available on the shul’s website, templesholom.ca.

Sunday morning will feature a bagels-and-brunch gathering for the religious school’s 220 kids and their parents.

The festivities are in support of causes that are close to the rabbi’s heart. Funds raised will go into two endowments.

The first is a pastoral care initiative, led by Rabbi Sally Finestone, whose sole focus is seniors, including regular visits, supporting their families, even driving people to appointments. As the congregation has grown to more than 1,000 households, Finestone is able to take some of the burden off Moskovitz, Associate Rabbi Carey Brown and Cantor Shani Cohen. This program, and Finestone’s position, began through an endowment in memory of Michael Jacobson.

The second endowment, originated by Susan Mendelson and her husband, the late Jack Lutsky, supports a scholar-in-residence program, which has allowed Temple Sholom and the broader community to learn from Israeli writer and thinker Yossi Klein Halevi for the past several years.

Though Moskovitz’s visit to Vancouver before being hired was in a typical Vancouver rainstorm, he instantly felt he had found a home.

“I just fell in love with this congregation,” he told the Independent.

What stands out most, he said, is that, in Vancouver, congregants don’t simply attend services, they participate. “They own it,” he said.

It’s a contrast, he suggested, to parts of American Reform Judaism, where it can feel like congregants outsource their religion to the rabbi, drop their kids off at shul and pick them up after. “I call it drive-by Jewing,” said Moskovitz.

“Our congregation shows up. The parents don’t just drop off their kids. They come in the building. They stay for minyan,” he said.

Something else that surprised him about Vancouver is the level of collaboration among Jewish institutions, exemplified by the inter-denominational Rabbinical Association of Vancouver. It’s a model, he believes, that could reshape Jewish communal life elsewhere.

Of course, not everything has been easy. Rising antisemitism in Canada has forced him into a more public, defensive role than he ever expected. It’s not why he became a rabbi, he said, but it has become part of the job.

Thirteen years in, Moskovitz has no plans to leave.

“I never want to,” he said.

Neither, apparently, does the congregation ever want him to go. They gave him a life appointment, or to age 67: “Whichever comes first,” he said.

Aside from missing his extended family and Trader Joe’s, Moskovitz has no regrets about the move to a new city and country – the citizenship test for which, he noted, he aced, with 20 right answers out of 20.

“My parents are older now. It’s hard for them to travel,” he said. “My father-in-law is older also, so that’s hard. My kids grew up without that drop-by grandparenting, which is so special. So that’s been a trade-off.”

His family has likewise found a home at Temple Sholom, Moskovitz added. His wife, Sharon Mishler, is a true partner in the work, he said.

“When I’m in the front of the congregation leading the synagogue and services, she’s in the back of the congregation creating relationships and connecting people,” said the rabbi. “She takes brides to the mikvah. She meets with our seniors. She takes people out to lunch. She makes phone calls. She’s a great source of information for me when people tell her things that they think I should know about somebody being sick or whatever it is.”

Their son Judah, 20, studies political science and history at the University of Ottawa and works on Parliament Hill for Vancouver Granville Member of Parliament Taleeb Noormohamed. He was just selected as the co-chair of the Canadian Jewish Political Affairs Committee Fellowship.

Son Levi, 18, graduates from King David High School this spring and was accepted early to Western University’s Ivey Business School.

Daughter Estee, 14, also a student at King David, has an aptitude for science and, like her brothers, is very involved with BBYO (formerly B’nai B’rith Youth Organization), where she is vice-president of the chapter board.

“I never thought that I would be the rabbi of a synagogue that I’d want to join,” Moskovitz said. “I thought that I would always have to compromise my spirituality to serve the masses of my community.”

At Temple Sholom, he is truly at home.

“It is Judaism in the way that I like my Judaism,” he said. “It’s traditional but inclusive and egalitarian. Progressive in what I think are all the right ways in terms of trying to adapt and respond to modernity, but not watered down Judaism in the process. And it’s a loving, caring congregation.”

Keeper of VTT’s history

David Bogoch, second from the left in the second row, is one of three generations of his family to attend Vancouver Talmud Torah. (photo from David Bogoch)

“David has been so dedicated to VTT,” Vancouver Talmud Torah head of school Emily Greenberg told the JI about why the school is honouring David Bogoch at their May 14 gala.

“From his dedication to our archives and to his preserving our traditions and our history, to being really forward-focused and really understanding what the school needs to be successful,” she said.

“He’s also been very dedicated to our alumni and, as an elementary school, having an engaged alumni is a bit more challenging than a high school, just inherently, but he’s really been an advocate,” she added, noting that Bogoch has been a mentor to her.

“I came here seven years ago, and he was one of my very first meetings that I had,” she recalled. “He and I meet semi-regularly and he’s somebody I can pick up the phone and call at any time and say I need your advice on this…. And what I know is that he has no other agenda than VTT must be a successful place, and we must make sure we’re doing well to serve the community and to serve Vancouver’s Jewish future.”

Bogoch also connected VTT with Stable Harvest Farm. Syd Belzberg has a named space at the school, so was already a big supporter, but, in recent years, he has focused his philanthropic efforts on the nonprofit community farm. VTT’s partnership with Stable Harvest has been central to the school’s plant-based learning program and most of the students are out there at least once or twice a year, said Greenberg.

“We now have curriculum across all grades where our kids are integrating and learning through plants … not just the growing cycle but environmental technology, environmentalism, how to care for the land, the agrotechnology that’s coming out of Israel – drip irrigation, for example, it’s in our garden and it’s something that Syd uses…. The partnership with the farm and then our Jewish Community Garden … has been just an amazing marriage.”

Plant-based learning is one of the school’s hallmark programs, what differentiates VTT from other schools, said Greenberg. Funds raised from the gala will go towards it, as well as the school’s hallmark athletics, arts and other programs.

“Then, of course, there’s always tuition assistance – that’s a piece that we want to continue to support so that all families who want a Jewish education are able to attain it,” she said.

“This coming year, we’re introducing a universal lunch program, so all of our kids are going to be on a meal plan,” Greenberg said, which means the kitchen will need outfitting and the dining hall updating so that the school can “feed about 600 people a day a kosher, healthy lunch that will be tied into some of our plant-based learning…. That’s definitely a high undertaking of the school that we’re hoping to fund.”

For his part, Bogoch said, “I would love to see record amounts of money being raised – and I’d like to see record amounts of attendance and satisfaction.”

Bogoch’s father, Dr. Abraham (Al) Bogoch, was “Mr. Talmud Torah,” spearheading multiple building campaigns on behalf of the school, among many other things. And David Bogoch has followed in those footsteps. He’s been the keeper of VTT’s archive for more than 20 years and is responsible for the alumni portfolio.

“Why? Because it’s a good puzzle,” he told the Independent. “Trying to find every person that went to TT since 1918, trying to identify them, whether they’re living or dead, what’s their current email address and phone number, their mailing address.”

He noted that, every decade or two, the names one sees on various boards and in other community activities and volunteer positions change. For example, when more Israelis started coming, there were more Israeli names. “Same thing happened in the ’50s, when all the Hungarian kids showed up, so they had different names. When Soviet Jewry ended up leaving Russia and coming over…. When Yugoslavia broke up, there was an influx in kids at Talmud Torah with unusual last names.”

photo - David Bogoch, curator of Vancouver Talmud Torah’s archive, will be honoured at the school’s May 14 gala — David Bogoch, curator of Vancouver Talmud Torah’s archive, will be honoured at the school’s May 14 gala. *(photo by Jennifer Shecter)*

It is from exploring the school’s archives that Bogoch sees such trends.

“Every time somebody adds something to the archives, whether it’s photos or documents, it’s always adding to the inventory, so now we’re well over 50,000 documents, photos, in the archives,” he said. “And it’s growing like crazy because we haven’t included [yet] a lot of the digital stuff that Jenn [Shecter] or the other people at the school are taking. And, each year, there are new alumni.”

The archives has benefited from past presidents keeping material from their time on the school’s board, said Bogoch. He also has gone through every Jewish Western Bulletin/Jewish Independent from 1925 to about 2010, copying every mention of Vancouver Talmud Torah.

“We got so much of the information about the history of the school through the Jewish Independent, through the Jewish Western Bulletin,” he said, listing off some of the many types of fundraisers the school has had over the years. “The most weird one,” he said, “was a Gentleman’s Smoke, where they got together, they drank some whiskey and they smoked, either cigarettes, cigars or pipes.”

Seeing how the community has evolved and how the city has changed are two of Bogoch’s favourite aspects of working with the archives, “finding out the early stories of Strathcona,” and stories from when most of the Jewish community moved “to False Creek, and then to Oakridge, and spreading all over the Lower Mainland.”

In preparation for the gala, he’s been going through material with his son, Adam, who knows the school’s history as well as his dad and grandfather, having not only attended VTT but also having written and directed the one-hour documentary Vancouver Talmud Torah Onward: The 100-Year History, which was released in 2017, as part of the school’s centenary celebrations.

While the most visible Bogoch link to VTT is via the paternal side, from father to son to grandson, David Bogoch’s mom, Margaret, was also involved – in the PTA and in fundraising – as well as with other Jewish organizations, such as Hadassah.

The gala event honouring Bogoch is aptly called The Roots We Share.

“There are families that have four generations who have gone to TT. That’s pretty amazing,” he said.

“Right now, the school is so strong, I could not see it failing. You never know what happens in the future, but I can almost guarantee that, if you have people in the background who are willing to step up and make sure it doesn’t fail, it’ll stay. That’s the way I look at my role – behind the scenes. I don’t like to be up front, that’s why this is so unusual, to be up front,” he said about being honoured.

He hopes that people will be inspired by what fellow community members have done to keep Jewish communal life going. He wants people to feel as excited about the school as he is.

At the May 14 event, guests will enter through a passageway of photos from throughout VTT’s history. Adam Bogoch also will create a video tribute to his dad, as well as a video for the night’s formal fundraising ask. He has been tasked with creating other event exhibits that highlight his dad’s archival work.

“Time capsules, in a sense,” said the younger Bogoch. “Guests will be transported into different decades of the school’s history, seeing themselves as children, their parents/grandparents and their old teachers/colleagues, visually experiencing where the school has been, where it is today, and hopefully how it will continue.

“The event is called The Roots We Share and, whether those are old roots or ones just taking shape, what will hopefully be realized is a continuum of values, experiences and purpose.”

“When we understand that we’re part of that history,” said Greenberg, “we understand the purpose of what we’re doing – and no one understands that more than David – that we are linked to our history, we’re linked arm and arm with it, and that’s what will help propel us into the future. We have to have that proper respect and honour for the past, and also the shoulders we stand on, and he really understands that…. He’s such a bridge in so many ways for the school.

“He’s a bridge between the past and the future, he was a bridge to Stable Harvest Farm, he’s been a personal bridge for me to this community and I’m just so grateful for his ongoing engagement in the school,” she said. “He obviously gets great joy from it and I always tell him, he’s not allowed to go anywhere.”

For tickets to the gala, go to talmudtorah.com.

Gala fêtes Infeld’s 20th

Rabbi Jonathan Infeld, centre, with his wife Lissa Weinberger, and their kids, left to right, Yair, Naomi and Avishai. Congregation Beth Israel’s Be the Light Gala on June 4 celebrates Infeld’s 20th year as the synagogue’s spiritual leader. The rabbi says he and his family have “been very lucky to raise a family here and help build a synagogue.” (photo from Beth Israel)

At Congregation Beth Israel’s Be the Light fundraising gala on June 4, the star of the show will be Rabbi Jonathan Infeld, who is celebrating his 20th anniversary as the congregation’s spiritual head. Known for his warmth, charisma and approachability, the rabbi has spearheaded profound changes in the BI community, both physically and spiritually.

The synagogue building itself has been completely transformed, but the heart of BI has grown exponentially, too, both in congregation numbers and in participation. Gary Averbach, a BI member since the 1970s and chair of the committee that fundraised for BI’s rebuild, recalled a younger Infeld, who was 33 when he first applied for the position at Beth Israel.

“He was young and was anxious to live in Canada, and especially in Vancouver,” he said. “He and his wife had decided on their honeymoon that, if there was one place to live other than Israel, it was Vancouver. That impressed me because we didn’t want a rabbi who would see Vancouver as a steppingstone to Los Angeles or New York. We wanted someone who would see Vancouver as a home and a place to raise their family.

“The total change in the physical and human structure of Beth Israel over 20 years is a testament to Rabbi Infeld,” Averbach continued. “As an overseer of the community, he is humble, never arrogant. One example of this is his reluctance to sit on the bimah during services. He designed the bimah such that he could sit with the congregation because he felt the rabbi’s place was with the congregation, not above the congregation. That shows his humility.”

Peter Lutsky, a past board member and past president at BI, spoke fondly of Infeld. “He’s caring, approachable and able to blend the practical and the spiritual,” said Lutsky. “For me, from a Jewish perspective, he’s connected the head and the heart, truly endearing himself not just to me, but to all shul members over the years.”

Infeld is proud of what the congregation has achieved over the past two decades. “The best part of it has been the building of a community with so many people involved,” he reflected. “We’re the largest egalitarian, twice-daily minyan on the West Coast, and we’ve been able to maintain that. When my family and I first arrived in Vancouver, BI Shabbat morning attendance averaged between 35 and 40, but today it’s grown to 150 to 200. And that’s on an ordinary Shabbat! Seeing that growth is fabulous.”

Beth Israel’s “culture of chesed” is also a point of pride for the community, Infeld noted. For example, One Heart Dinner delivers a free monthly meal to those with food insecurity, and the Soup Troupe offers a litre of soup each month to families receiving assistance from Jewish Family Services’ the Kitchen. The Vancouver Jewish Community Garden, a partnership between BI, JFS and Vancouver Talmud Torah, allows students, seniors, congregants and others to participate physically and meaningfully in the act of growing fruit and vegetables. Last year, the garden team donated 1,000 pounds of produce to families in need.

Emily Greenberg, head of school at VTT, worked closely with Infeld on the vision for the community garden. “We envisioned a place where everyone could come together to be Jewish and get their hands dirty in what it means to be Jewish and part of the community,” she said. “It’s been a tremendous project to do together alongside JFS.”

Greenberg said VTT is deeply indebted to Infeld for the many years he has committed to actively promoting Jewish education.

“He truly understands how important it is that we plant the seeds of Jewish education early, and he works with our Grade 5s all year, investing in those relationships and getting them jazzed up for their b’nai mitzvah. As a parent whose kids went through Beth Israel for their b’nai mitzvah, I’ve gotten to know him well. Rabbi Infeld just exudes so much care about what he does. His work is incredibly genuine and purposeful.”

Looking back on his job acceptance 20 years ago, Infeld said it was a great decision to come to Vancouver. “We’ve been very lucky to raise a family here and help build a synagogue,” he said. “All our kids have gone from preschool at the JCC, to VTT and then to KDHS, so we’ve been direct recipients of the excellent Jewish institutions in Vancouver.”

In terms of what he’s accomplished at Beth Israel, he insisted “it’s never about me – it’s always about us. At Beth Israel, we’ve built our community together, and it’s taken fabulous leadership, lay and spiritual. Yes, we rebuilt the entire physical structure of the synagogue, but we’ve also worked on the soul, and continue to build the soul of the congregation.”

Infeld reflected on the growth of key Jewish organizations since 2006, including JACS, JFS and the Jewish day schools. “When we first arrived, KDHS was just getting off the ground and now it’s one of the vibrant hearts of our community,” he said.

A rabbi’s job is never easy, but Infeld said he and his family are grateful to have found a warm, lovely home in Vancouver and at Beth Israel.

“We’ve found people who are extraordinary, and who are more than just congregants, but who are friends and family,” he said. “They’ve been there for us in challenging times and in times of celebration, such as the gala. I’m looking forward to the gala, and kudos to Jacci Sandler, the gala committee, donors and participants, who are working hard to make it a success.”

Infeld’s contract takes him through to retirement, and Averbach said he hopes that’s a long way away. “He’s still young,” said Averbach, “and I hope this 20th anniversary represents not even half of his term in Vancouver!”

For gala tickets, go to bethelightgala.com.

Lauren Kramer, an award-winning writer and editor, lives in Richmond.

Building JWest together

A rendering of JWest as seen from above. (image from JWest)

There is a version of the JWest story that is easy to tell – the renderings, the numbers, the names on the donor wall. However, there’s another story that came before that: the story of what this community had to agree to before a single dollar was raised publicly, and what it took to get there.

JWest is, at its core, a collaboration between three independent institutions – the Jewish Community Centre of Greater Vancouver, King David High School and the Jewish Federation of Greater Vancouver. Each has its own governance, its own mandate and its own community of stakeholders. Over decades, each has built something distinct and worth protecting. Getting all three to formally commit to a shared campus, shared planning and shared accountability wasn’t a given. It required a multi-party agreement that had never been attempted at this scale in Vancouver’s Jewish community. It required each organization to trust the others with something it had always controlled on its own.

That trust didn’t emerge from enthusiasm alone. It was earned through years of consultation, through difficult governance conversations and through a shared recognition that what any one of these institutions could build alone was smaller than what all three could build together. The agreement that confirmed this partnership wasn’t a formality; it was the trust in one another and a level of collaboration that our Jewish community had never tested before.

The philanthropic chapter of this story required the same kind of leap. The JWest campaign has now secured more than $147 million from our community, a figure that reflects confidence in the project’s direction and the people steering it. Major donors took their positions early, when the vision was still largely on paper and the path forward still unknown. They weren’t simply giving gifts – they were signaling to our Jewish community that this project was worth investing in, and the community responded by expanding that circle, one family at a time, with each gift a vote of confidence in the ones that came before.

What that philanthropic momentum produced is something harder to quantify but just as important: proof of what the Jewish community can accomplish when it organizes around a shared long-term vision and commits to making it a reality. That proof compounds. Each milestone – the matching funds, the families who stepped in at every level – made the next conversation easier, and the project’s momentum more visible to everyone watching.

The move to a public campaign this spring marked another milestone. For the first time, JWest opened its doors to the full breadth of our community, including JCC members, KDHS families, Jewish Federation supporters, and people who have never thought of themselves as major donors but who care deeply about what Jewish life in Vancouver looks like for the next generation. That broadening matters not just for what it raises, but for what it means: this campus is being built by our community, not simply for it. Ownership is the point.

We are now approximately $14 million from completing the philanthropic goal. That number is not small. But it is the most achievable it has ever been, because of everything that came before it. The governance works. The partnership holds. Our Jewish community has shown, at every stage, that it is willing to bet on itself.

Every milestone in this project has asked something of us, whether it’s a new level of coordination, a new threshold of trust or a new circle of participation. This one is no different. The final milestone belongs to whoever chooses to step into it.

For more about JWest, visit jwestnow.com.

Emily Pritchard is executive director of JWest Foundation and Alex Cristall is chair of JWest Foundation.

Challah Mom comes to Vancouver

Anat Ishai, aka Challah Mom, leads a women’s bake session on May 13. She teaches challah baking as a form of therapeutic self-care, mindfulness & spiritual grounding. After years marked by grief, conflict & collective trauma, this gathering is an intentional, welcoming & apolitical space for joy, connection & togetherness. (photo from thechallahmom.com)

Click here for tickets (by donation) to the Vancouver in-person event presented by NCJW Vancouver and sponsored by PJ Library.

– NCJW Vancouver

Education offers hope

Left to right: Minister and Solicitor General Nina Krieger, Holocaust survivor and keynote speaker Lillian Boraks-Nemetz, Premier David Eby and survivor Leo Vogel at the Legislative Assembly on April 14. (photo from Province of BC)

The annual Yom Hashoah commemoration ceremony at the Legislative Assembly of British Columbia took place on April 14, with political leaders, Holocaust survivors and representatives of the Vancouver and Victoria Jewish communities in attendance.

Raj Chouhan, speaker of the Assembly, started the proceedings. “Now, more than ever, it is important that we reflect on and remember the atrocities of the Holocaust and I stand in solidarity with you as we honour survivors today,” he said.

“When I think about the Holocaust, I think of the six million lives of men, women and children lost, the grief, the decimation of entire communities,” said Premier David Eby. “Beyond that, there is the extinguishment of so much potential that could have improved the world.”

Trevor Halford, interim leader of the BC Conservative Party, echoed the premier’s sentiment, calling the Holocaust a genocide unprecedented in its scale. “We lost men, women and children. We never got to see their full potential of what they could be or how they could change and impact this world,” he said. “We must call out hate every time we see it. Every time. Each one of us.”

Jeremy Valeriote, representing the BC Green Party, said that Yom Hashoah is not only a day of mourning but a call to action. “It reminds us of the dangers of hatred, antisemitism and indifference, and challenges us to confront injustice wherever we see it,” he said.

Lillian Boraks-Nemetz, an author, educator and survivor, was the keynote speaker. She described a happy, ordinary childhood in Poland in the 1930s. Hers was an assimilated family that participated in Jewish life. Her father was a lawyer and her mother had a large social circle consisting of many friends, both Jewish and not Jewish. That all changed in September 1939.

“There isn’t a day that I don’t ask myself why I survived. How did I survive when six million of us perished, and 1.5 million were children? And one of them was my sister. I lost my cousins, aunts, uncles, grandparents, friends, and the list goes on and on,” Boraks-Nemetz said.

Commemorations, such as the one in Victoria, will hopefully ensure that an “apocalyptic event” like the Holocaust never happens again, Boraks-Nemetz said. Through education, she said, we sow the seeds of truth and understanding, the lesson that racism, intolerance and prejudice must have no place in society.

Through the Vancouver Holocaust Education Centre, Boraks-Nemetz and other survivors have spoken to thousands of schoolchildren in the province. She thanked Eby’s government for mandating Holocaust education for students in Grade 10. “Through such actions, we may find a glimmer of hope for a better future,” she said.

Boraks-Nemetz is the author of several books that reflect on her experiences as a survivor and subsequent life in Canada. Her award-winning young adult novel, The Old Brown Suitcase (1994), is used in school curricula to teach about the Holocaust and multiculturalism. Her most recent books are volumes of poetry, Out of the Dark (2020) and Hidden Vision: Poems of Transformation (2024), written under the name Jagna Boraks.

Towards the end of the commemoration, survivors Leo Vogel and Arlette Baker joined Boraks-Nemetz on stage to honour the victims of Nazi terror.

During the ceremony, Rabbi Meir Kaplan led attendees in prayer, and he reflected on how, over the last 20 years, the room had gone from being filled with survivors to having just a handful. Local community member Ari Hershberg read Boraks-Nemetz’s poem, “A Survivor Remembers the Six Million.”

Nina Krieger, minister of public safety and solicitor general, and former executive director of the VHEC, essentially led the proceedings.

“It’s by engaging with the Holocaust that we consider questions like, What is at stake to remain a bystander?” she said. “What are our obligations in times of moral crisis? We learn about the dangers of denial and distortion of history and memory.”

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