The burkini fiasco, if it has had any positive effects, should have opened some eyes to how silly human beings can behave when we become enmeshed in a fabricated social panic. The issue, for those who have not seen the image of French police standing over a woman at a beach, requiring her to remove articles of clothing, is the idea that Muslim women in modest beach wear are a threat to Western civilization.
About 30 coastal towns in France banned the “burkini,” swimwear that generally covers all but a woman’s face, hands and feet. Even after a French court ruled the ban illegal, most of the mayors insisted they would continue enforcing the dress code.
The irony is jarring. Ostensibly based on the idea that Islam or Islamism – the motivation and the perceived threat are blurry – oppresses women by forcing them into extensive body-covering clothing, police in a democratic Western country force a woman to disrobe. (It was inevitable, also, that photos would soon go viral depicting nuns frolicking in the ocean in full Christian religious regalia, unmolested by authorities.)
France’s Prime Minister Manuel Valls has called the burkini a “provocation” and “an expression of a political project, a counter-society, based notably on the enslavement of women,” an “archaic vision” in which women are “immodest, impure and that they should be totally covered. That is not compatible with the values of France and the Republic.”
We can leave to the French what is compatible with the values of France and the Republic, yet surely a nation founded on the pillars of liberty and equality must find something amiss when its police devote their time and resources to enforcing swimwear rules.
France is singular among European countries for its stated commitment to laïcité, the prohibition against religious involvement in government affairs in service of a secular ideal. Similar issues have been addressed in Quebec, where overtly religious Christian symbols, including the crucifix, were deemed part of the province’s cultural heritage and thereby conveniently exempted from the ban on religious imagery. But, in France, as elsewhere in Europe, more is at play than ideas of secularism. In fact, the imperfect heritage of secularism is being manipulated as an excuse to target a particular group.
On the one hand, let us not pretend that there are not legitimate concerns and issues raised by the increasing population of Muslims in Europe. Among this population, both among immigrants and those born in Europe, are a small number who have become radicalized and are a genuine threat to society. A larger number holds ideas that challenge the European consensus on the role of women in society, pluralism and the rights of people to live free from religious coercion. These are legitimate concerns that require addressing through long-range integration strategies and societal accommodation between traditions – as does the rise in Europe of nationalism, xenophobia and racism.
But the burkini is, at best, a side issue; a symptom of a few things, none of them healthy. Regardless, the “solution” to any social coercion around women’s clothing is certainly not legal proscription, at least it should not be in a Western democracy. Burkini-banning has more in common with religious extremism – modesty “police” exist in various communities around the world – than the Western freedoms the burkini-bashers claim to defend.
Rabbi Ilan and Rabbanit Dina Acoca and family have moved to New Jersey after 17 years with Vancouver’s Congregation Beth Hamidrash. (photo from bethhamidrash.com)
An era has come to an end in Vancouver with the departure of Rabbi Ilan and Rabbanit Dina Acoca and their family on Aug. 23. The Acocas were a friendly, dignified presence at Congregation Beth Hamidrash for 17 years, helping shape and strengthen the Sephardi community in Vancouver, as well as contributing to the wider Vancouver Jewish world.
The Acocas have headed to Fort Lee, N.J., where the rabbi will become the spiritual leader of a Sephardi congregation and the principal of Ben Torat Yosef, a Sephardi school which has 480 children in grades K-9. Speaking to the Independent, he was clearly excited about what awaited him in New Jersey. Many in Vancouver will no doubt miss his presence, though, and the feeling is mutual.
Acoca was born in Bat Yam, Israel, to parents from Morocco. In 1967, they left Morocco for France and then Israel. After his bar mitzvah, Acoca moved to Montreal, where a teacher at a Jewish high school, Rabbi Michael Seraf, ignited a passion for Judaism and the Sephardi tradition within him.
After his rabbinic ordination in 1999, Acoca heard of a job opening in Vancouver and applied.
Acoca is passionate about the value of the Sephardi heritage and the treasures it has to offer world Jewry. “Sephardic Judaism is halachic, strongly committed to traditional Jewish law, yet it is open-minded,” Acoca told the JI. “Sephardic sages were willing to think outside the box. They knew how to include as many people as possible while keeping the tradition authentic. This is an important lesson for Jews today.”
Acoca said he leaves behind a strong Sephardi community in Vancouver, though one not without its challenges. “All of Jewish Vancouver faces the problem of housing,” he said. “For the younger generation, this is a very serious problem. Yet, people believe in this place. If the community can find ways to meet this challenge together, it will survive and thrive.”
Asked what he particularly enjoyed sharing with the community, Acoca cited Talmud study and teaching unique Sephardi liturgy and traditions. “Together,” he said, “we were able to open up the talmudic mind, the mind of our sages. I also enjoyed studying the gems of Sephardic liturgical writing, masterpieces like L’Cha Dodi and Yedid Nefesh, as well as the Sephardic siddur and piyutim (devotional hymns). I enjoyed learning Sephardic liturgy from all over the world.”
Other highlights for the rabbi included sharing the wisdom of Sephardi sages like the Ben Ish Chai and the synagogue’s women’s group, which studied Moshe Chaim Luzzatto’s sophisticated theological work Derech Hashem. “We could spend hours looking at one line of Derech Hashem,” said Acoca. “This was one of my favorite things.”
The rabbi also enjoyed educating Jewish Vancouver about Sephardi traditions, but “we have to remember that we are one nation of different traditions of equal value,” he said.
The rabbi himself showed this type of openness a couple of years ago, when he encouraged Adrian Sacks, a Vancouverite who has since made aliyah, to teach Rebbe Nachman’s Chassidic masterwork Likutey Moharan at Beth Hamidrash. “There is much in common between the Chassidic tradition and Sephardic spirituality,” said Acoca. “For instance, both traditions emphasize the importance of being b’simchah, of living with joy and warmth.”
He said, “I wish the congregation and the wider Jewish community an abundance of success. It has been a wonderful journey for us – a journey of 17 years, which is tov in Jewish numerology, good. It has truly been tov. May God continue to bless the community.”
A farewell gala for the Acocas was hosted by the congregation at Schara Tzedeck Synagogue on Aug. 21, making use of Schara Tzedeck’s larger auditorium to accommodate those wishing to send off the family with their good wishes.
Those who miss Acoca’s teachings can comfort themselves with his The Sephardic Book of Why, which is upcoming this year from Hadassah Publishing.
Matthew Gindinis a Vancouver freelance writer and journalist. He blogs on spirituality and social justice at seeking her voice (hashkata.com) and has been published in the Forward, Tikkun, Elephant Journal and elsewhere.
Jewish community members Gina Leon (above) and Michael Germant are both co-producers, as well as actors, in Island Productions’ The Glass Menagerie. (photo from Gina Leon)
Tennessee Williams is one of the giants of the American theatre. His 1944 four-actor play The Glass Menagerie, which catapulted him to fame, is about to open in Vancouver, produced by local theatrical troupe Island Productions.
Island Productions is an international ensemble and includes, among others, director Mel Tuck and Jewish actors and co-producers Gina Leon and Michael Germant. Although the three come from different places and backgrounds, they are united in their reverence for Williams and his writing.
Leon was born in Johannesburg. She moved to Canada with her family when she was 7. “I spent my childhood in costume, always played something,” she recalled, “but, in high school, I painted a lot. My mother and grandfather were artists.”
Torn between visual arts and theatre, Leon studied both, theatre and art history at the University of Toronto, visual art at the College of Art and Design in Sydney and acting at the New School for Drama in New York. Now, she divides her time between acting and painting. “They feed into each other,” she said. “Art develops imagination, which is necessary for an actor. They are both telling a story.”
In The Glass Menagerie, Leon plays Laura, a young woman with physical disabilities who is mentally fragile. “The play is autobiographical for Williams, and the role of Laura is based on his own beloved sister,” Leon said.
“Tennessee Williams is one of my favorite playwrights, maybe the favorite,” she added. “He has a knack for telling stories that are very personal to him but also universal. The Glass Menagerie happens during the Depression, but everything in the story is relevant now. Because of his timeless appeal, Williams can reach a wide audience. I love his language, too. It is poetic and profound.”
According to Leon, while the play is the story of a dysfunctional family, “it’s also a story of hope. Laura plays with her glass figurines, polishes them in the play. They represent her hope, the connections she sometimes lacks in real life. Her glass menagerie has another meaning, too: it’s her safe refuge. She needs an escape from the harsh reality of life in the 1930s because she is so sensitive and vulnerable.”
Leon’s co-producer and fellow community member, Germant, spent his early childhood in Moscow. His family moved to Montreal when he was 6.
“When I was a kid, I wanted to be a veterinarian, then I wanted to be a spy,” he joked. “When I went to university in Montreal to study French, I was miserable. I started taking acting classes and liked it.”
He began thinking of a theatrical career and later studied at the Montreal School for Performing Arts and the Vancouver Film School.
“When we lived in Moscow, my mother was a stage manager at a children’s theatre,” he said. “Although she didn’t work in theatre after we immigrated, she supported my decision of a career in the performing arts. Seven years ago, I moved to Vancouver to study with Mel Tuck. In 2013, when we organized our Island Productions company, Mel became the director.”
In the show, Germant plays Jim, a guest at the house of Laura, her mother and brother.
“Jim is Laura’s final hope,” Germant explained. “His colleague Tom invited him home to meet his mother and sister, but Tom didn’t tell Jim about Laura. When Jim meets Laura, he is drawn to her, to her imaginary world, to her dreamy personality, but this attraction can’t go anywhere. Jim is already engaged to another woman, but Tom didn’t know that. The entire play is a series of miscommunications. There is sadness there but there is also humor. Like many Williams’ plays, this one is funny but it is also poignant, heartfelt.”
Tuck confirmed the play’s controversial elements and its sophisticated treatment of emotions and ideas, comedy interwoven with bleakness. He knows it from personal experience, having played Laura’s brother Tom in a production of The Glass Menagerie long ago. “There is another connection, too,” he said. “Lynne Griffin, the wonderful actress who plays Amanda, Laura’s mother, in this production, long ago played Laura.”
Tuck’s theatre career spans more than five decades. According to his bio online, he has founded nine theatre companies and directed more than 300 plays; he has taught at institutions across the country and many of his students have become successful and award-winning actors. He still teaches at his studio in Gastown, while also acting himself and, of course, directing.
“The play takes place during the Depression era and we set it as a period play, but its themes are still relevant now,” he said. “We all move forward with our lives, but how much do we sacrifice?… Williams was always compassionate towards his characters, and this play is a plea to understand them all, with their faults and their vulnerabilities.”
The Glass Menagerie runs Sept. 6-25 at PAL Studio Theatre, 581 Cardero St. For tickets and more information, visit glassmenagerie.ca.
Olga Livshinis a Vancouver freelance writer. She can be reached at [email protected].
Ziyian Kwan and Vanessa Goodman perform together in Simile, which concludes the Scotiabank Dance Centre’s open house on Sept. 10. (photo by David Cooper)
The Scotiabank Dance Centre’s open house on Sept. 10 culminates with Simile, featuring new work and performances by Vanessa Goodman of Action at a Distance and Ziyian Kwan of dumb instrument Dance.
All three pieces in the show – Kwan’s Still Rhyming, Goodman’s Floating Upstream and the collaboration In Vertebrate Dreams – are connected yet unique, Goodman told the Independent.
“Ziyian’s piece, Still Rhyming, is a beautiful work that responds to Patti Smith’s book M Train, and the piece has an incredible live sound score by Jo Passed,” she said. “It is a whimsical journey for the audience and Ziyian captures and transports my imagination while I am watching the piece. For me, Floating Upstream explores the notion of having one’s head in the clouds in a very simple sense: it is the idea
of being a dreamer, where anything is both possible and impossible. And, in In Vertebrate Dreams, we are creating a surreal world where human and animal instincts are being explored and subverted.
“In many ways, I think all three works are playing with a skewed perception of reality. However, I also believe that all three works are entirely different in their tone and expression. I think this has created a very diverse and engaging program.”
According to its description, Floating Upstream “plays with the fantastic being mundane and the mundane being fantastical.” Goodman explores these elements “through simple actions and coordinations that I employ daily, like walking or speaking,” she said. “In the opening of the work, I deconstruct the act of walking and try to transform it to feel as if I am floating through the space. Or simple gestures that I do while I am talking – with these gestures, I have experimented and distorted how I can embody them until they are unrecognizable.
“Floating Upstream has an original sound composition by Vancouver-based artist Loscil,” she added. “Loscil and I have been collaborating on several works over the last year, including my solo Container that just toured to Seattle’s On the Boards’ Northwest New Works Festival and Portland’s Risk/Reward Festival. It is so great to be continuing our creative process together, as I find creating with his soundscapes so rich and driving.”
Goodman has also been working with Kwan for some time, “supporting one another and collaborating in a number of ways since 2013,” she said. “Simile is, in many ways, a culmination of our interest in each other’s work and friendship. It is always such a pleasure and honor to collaborate with colleagues in new ways, to see where you can grow and be challenged inside your artistic practice.
“The idea for the duet seeded for us when we were doing a photo shoot for the production and we got several props to work with to create some imagery to publicize the show,” she explained. “We started exploring these masks and all of sudden we decided that we were compelled to make this work. What has become clearer for me as this process has gone on is that the work is about how we both are different animals when it comes to creation but, in a strange and wonderful way, we also complement each other and have created something that is unique to us working with one another.”
The evening also features lighting design by James Proudfoot.
Goodman expressed gratitude to the Dance Centre for Simile’s inclusion in the open house, saying that she and Kwan “are very excited to be sharing this program that we have been dreaming up for the last two years.”
The Sept. 10 open house starts at 11 a.m. with an hour class on pow wow, followed by a class on tap and then many other dance styles – including swing, Brazilian, Scottish, hip-hop, ballet – throughout the afternoon to 5 p.m., as well as a workshop on injury prevention. All classes are free and suitable for beginners.
Simile starts at 8 p.m. at the centre, which is at 677 Davie St. Tickets are $25/$20 from Tickets Tonight, 604-684-2787 or ticketstonight.ca. For more information, visit thedancecentre.ca.
A scene from one of the end-of-class performances by the Hebrew-language theatre group for women at the Jewish Community Centre of Greater Vancouver. Director Orly Naim is also teaching an English-language course this year. (photo from Orly Naim)
One of the new courses at the Jewish Community Centre of Greater Vancouver is Community Theatre. The classes, which start Sept. 15 and run Thursday evenings to June 15, will “use theatre methods of movement, role-playing, improvisation and other out-of-the-box routines” and help “individuals and the group to find new ways for self-expression.” They will also prepare participants for an end-of-course public performance.
The instructor, community theatre director Orly Naim, has previously taught at the JCCGV. In fact, the other course she is leading at the centre – a Hebrew-language theatre group for women – picks up where she left off when she went on maternity leave last year. Those classes start Sept. 12 and run Monday nights to June 19, also ending with a public performance by participants.
For both theatre groups, Naim teaches and facilitates throughout the year, and writes the end-of-class play based on material that is brought up in the group sessions.
But Naim’s experience extends well beyond the JCCGV. After graduating from Tel Aviv University with a degree in theatre, Naim, who is passionate about community theatre, worked in Jaffa with marginalized groups, such as Arab women and drug addicts, during the winters, and traveled to the former Soviet Union during the summer to work at Jewish youth camps. In Israel, she was involved in many different social and educational projects, not all of which were theatre-oriented. Her life changed when her partner got a job offer in British Columbia and the couple landed here with their children.
In her new environment, Naim searched for new groups with which to work. The JCCGV’s Israeli culture department gave her program a chance and the women’s Hebrew theatre group was formed. It had run for two years when the Independent spoke with Naim last summer, as she was starting maternity leave.
“As a social person by nature, I have found the immigration process to be very challenging,” Naim told the Independent. “You think you are prepared, but, once you land, reality is different from what you expected. Not surprisingly, most of the women in our group had similiar experiences and the group helped them to express these stories on stage and out loud. The group started slowly, but the rumor spread fast and we grew rapidly, to 15 women, in just few months. Our group is very diverse and each woman has her own unique experience. Since I love to write and direct, I collected the stories and we turned them into our first show.”
Naim said, “The nature of community theatre is finding a common denominator, and here it was our language barrier and the fact that we are all immigrants. We all face the same personal conflicts with our families back home and how to keep in touch with them, and all these issues were addressed in this stage play [that ended the classes]. It might look personal at first, but it was actually based on other women’s experiences.”
For Naim, the “Hebrew group have turned out to be my extended family and I miss all of them during this time off. The dynamic we created there was unique and special – you can ask anyone who was involved. You can’t hide true passion, and I’m so glad we were able to find it.”
For those wanting to try the new Community Theatre course, which is given in English, it is open to men and women 20+ years old and no previous experience is necessary; the Hebrew-language group is for women 20 and older. For registration and cost information on both programs, visit jccgv.com.
Shahar Ben Haleviis a writer and filmmaker living in Vancouver.
Chabad of Richmond’s new Chabad Hand Chime Choir is looking for additional members. (photo from Chabad of Richmond)
“We wanted to have more creative activities for seniors, something music-oriented,” said Rabbi Yechiel Baitelman about Chabad of Richmond’s new Chabad Hand Chime Choir. “Music helps with focus, builds concentration. Many of our seniors always wanted to have music in their lives, acquire musical skills, but they never learned to play, for various reasons. Now, with this choir, they can play wonderful music, be part of a team.”
The choir was formed after the federal government approved Chabad of Richmond’s application for a New Horizons for Seniors grant. The choir officially started in May and the first intake for members took place soon after; the second intake starts this month, and the third will begin in January.
The rabbi said that the first concert of the group was a big success. “They played at our annual summer barbeque,” he said. “The music included some Jewish tunes, popular songs. They are recording a CD now.”
Hand chimes were chosen, said Baitelman, “because most of our participants can’t read music notations. With hand chimes, each musician only plays one note on his chime, a part of a chord.”
Many music educators consider hand chimes the best instrument for beginners. Essentially, a hand chime is a percussion instrument, an aluminum tuning fork with a small mallet permanently attached to the handle. The length of the tines of the fork is responsible for the sound, which is one clear note. When a musician moves his hand holding the chime in a certain way, the mallet strikes the fork, and the chime resonates. The sounds produced are melodic and breathtakingly beautiful, and they last until the musician “damps” the chime by holding it to his hand or shoulder, thus stopping the vibrations.
Hand chimes are fun to play and easy to learn, which contributes to the self-esteem of the player, which is why they are often used in music therapy.
Hand chimes are cousins to hand bells and an ensemble of hand bells or hand chimes is called a choir, even though the musicians don’t sing. Like hand bells, hand chimes have a long history, dating back to China thousands of years ago. Those ancient chimes were made of bamboo, and the sound was created not by a mallet but by hitting the chime against a stationary object. Later, a musician would play his chime by striking it with a stick.
Since then, numerous inventors and manufacturers have strived to discover the best material for the chimes’ split fork and the mechanisms attaching the mallets. Amid these endeavors, between the two world wars, several radio stations used hand chime tunes – a few notes – as their audio signatures. By the early 1980s, hand chimes finally arrived at the design the Chabad Hand Chime Choir – and many other groups – are using today.
The Chabad choir includes seniors in their mid-60s to seniors 90-plus, and each rehearsal session usually counts 10 to 14 people. “Not everyone can come every week, for health reasons,” the rabbi said, “but all the members of the group are very enthusiastic about their music.”
Ron Philips, chosen to lead the new group, has years of experience in a variety of musical fields. “We wanted someone who knew not only music but also musical therapy and working with seniors, and Ron Philips answered all our needs,” Baitelman said.
“I wear many hats,” Philips told the Independent. “I’m a composer and a musician, an arranger and a voice teacher. I play several instruments – piano, guitar, bass, drums, flute – and I write music for films and various music projects.”
Having loved music in all its forms since childhood, Philips graduated from Douglas College with a music degree. He was the composer behind a number of locally produced films, including the award-winning Complexity (2011). He was involved with the Richmond Community Orchestra and Chorus and has worked on many other projects where music and community interests intersected. At the moment, he runs the Steveston Music Centre.
“When I was asked to conduct the Hand Chime Choir for Chabad of Richmond, I was glad to take on this new experience,” he said. “I believe this Hand Chime Choir gives the seniors participating in it a new connection to music.”
No prior music experience is required to be part of the choir. “We accept anyone who comes, as long as they have the love of music, the desire to learn and the willingness to participate in a team,” said Philips.
Anyone interested in trying out for the Chabad Hand Chime Choir should call Chabad of Richmond at 604-277-6427.
Olga Livshinis a Vancouver freelance writer. She can be reached at [email protected].
Jewish community member Erika Babins co-stars in How to Adult: The Musical. (photo from Coffee & Screaming)
As with the Jewish community Fringers profiled in the last issue of the Jewish Independent, the performers interviewed this week seek not only to entertain audiences but to spur self-reflection and even societal change. And they do so in a range of styles – musical, vaudeville and drama.
How to Adult: The Musical opens Sept. 8 at the Cultch Historic Theatre. It features three 20-something roommates who are trying to get their lives in order.
It is Amy Dauer’s writing debut and it is directed by Eleanor Felton, whose Eurydice received critical acclaim at last year’s festival. Dauer and Felton know each other from university.
“Last year, during the Fringe Festival, I told her she should write me a show to direct. And so she did,” Felton told the Independent. “It’s fantastic because Amy and I are also roommates, so a lot of what is in the script are things I recognize from our lives. I love the mixture of hilarity and disaster that feels very close to my life. And I love that, above all, this show is about the relationships between the characters rather than the events that are going on in their lives.”
Being a new musical, however, posed some challenges, the biggest of which, said Felton, “has been working with an evolving script and score. Peter [Abando] and Amy have worked really hard and the actors have been incredibly flexible, which was a huge blessing in the process.”
Jewish community member Erika Babins plays Imogen.
“Imogen is your textbook introvert,” explained Babins about the character. “She works from home on her computer all day as a graphic designer and, when she’s done, all she wants to do is curl up on the couch and watch Doctor Who on TV. When her friends suggest they go clubbing for her 25th birthday, it’s the worst thing imaginable. She finds it hard to stand up for herself and voice her opinions and usually defers to the judgment of her outspoken and confident best friend and roommate Holly. Throughout the course of the play, you see her getting frustrated with constantly being talked over and her ideas being vetoed, especially with Holly, who’s always been the alpha in their relationship, but with their other roommate Rosie and her brother, Graham, who suddenly reappears in her life.”
Babins can relate to her part.
“When I first read the character description, I joked that I was being type cast in this role. I even wore my Doctor Who shirt to the audition,” she said. “Like Imogen, I would rather stay home and read than go to a club or a party. I’ve also been able to bring my experiences with anxiety and panic attacks to the role, which has been both enlightening and really hard to explore. I’ve definitely had many moments in the five years since I graduated university where I’ve seriously sat down with myself and thought, ‘What is the point here? What am I actually doing?’ The big difference between Imogen and myself is that, unlike her, I have an amazingly strong support system of family and friends who I know I can talk to and who will either give me great advice or complain and berate the universe right along with me.”
A strong support system is also at the heart of Bella Culpa, where Portland-based circus theatre duo A Little Bit Off – Amica Hunter and David Cantor – must rely on each other, as their comedy shows are not just vaudevillian and slapstick but acrobatic, as well.
Bella Culpa, which opens Sept. 9 at Waterfront Theatre, is set in an Edwardian-era manor house, and Hunter and Cantor play two servants who are trying to finish (unsuccessfully) all of their chores before a big dinner party.
“We tend to approach our work from many angles at once,” Cantor told the Independent about their creative approach. “Once we have an idea for a show, we think of the overarching theme, the props we want to use, the characters, and we tend to approach all of those areas by playing games, or doing exercises. Through the games, we find things we like, which we take and apply some structure to. Once we have a few well-crafted bits, then we start weaving them together and making things flow together, to grow and expand out into a full show.”
Cantor – who is first cousin, twice removed of famed vaudeville and film actor Eddie Cantor – met Hunter at the Circus Centre in San Francisco in 2013.
“We were inspired by many of the same artists, so we started working together,” he said. “When the opportunity arose to travel to Europe and perform in some festivals, we jumped at the chance, and A Little Bit Off was born.”
About the enduring popularity of vaudeville and slapstick, Cantor said, “Language can be a very useful tool when it comes to conveying ideas to other people, but it can also be a mask. While it lets us connect on an intellectual level, it also distances us. Having our work centre around the body, it gets closer to what makes us all human. It’s a way to speak across any language barrier, any generational gap, any cultural differences. Our work is very much about tying people to their humanity and giving them a shared experience with the temporary community that forms any time you see a show in a theatre.”
As to the physicality involved in their performance, Cantor said, “All art takes risks. Our risks are sometimes with our bodies. We take care to use good technique, which mostly protects us, but there is an element of chaos that we choose to include, that makes the slapstick a bit more real, and the audience can see that, and we hear it in their reactions. They gasp at the falls, and then there is a laughter that comes with the relief of tension, as they realize that it was part of the shtick.
“We, luckily, to this point have avoided any serious injuries from our slapstick. We have had other show mishaps. In our last show, Beau & Aero, we use a tambourine as a prop. We were nearing the finale of the show and Amica stepped on one of the tambours, the little metal cymbals, that had fallen off, due to the abuse we put the prop through in the show. It was razor sharp and sliced Amica’s foot open quite badly. She left bloody footprints all over the stage and on my costume as we finished the show with an acrobatic number. Luckily, the footprints were up my back and, hence, not visible to the audience. We left immediately after the show to a pharmacy to get superglue and glue her foot shut. Had we been in Canada, with proper health care, we could have gone to the ER, but we do what we have to.”
Moving from health policy to the environment, climate change is front and centre of the program Generation Hot, which features nine “young artists responding to the climate crisis through new performances.” Guided by The Only Animal co-founder Eric Rhys Miller and mia susan amir of The Story We Be, the mentees have created various works. Divided into three programs, local Jewish community member Ariel Martz-Oberlander’s The Lilacs that Come a Month Early are Still so Beautiful shares Program C with Cosmic Justice by Nelson Ellis and Howard Dai. Program C opens Sept. 10 in the Anderson Street parking lot.
“This piece is vitally personal, there are parts that are deeply vulnerable and, therefore, risky to present publicly,” Martz-Oberlander told the Independent about her play. “I believe strongly that the personal is political, and that we can only talk successfully about large-scale issues by addressing the specific ways these issues are experienced in the small details of the day to day. For this piece, I am working with a cast of six enthusiastic, intelligent actors who fully bring their own worlds to this piece in such a rich way.”
The play’s description reads, “A grandmother, millennials, a woman coming to terms with abuse and ‘The Last of His Kind’ all share the stage. What is the everyday normalcy of climate change, or the deep abnormality of ignoring a crisis so large it already affects everyone? The characters struggle to hold on to the answers even as a world that ended five minutes ago slips away.”
“In the play,” said Martz-Oberlander, “the last of an unidentified species struggles to curate a message that will illustrate the urgency of the situation; however, the vignettes presented always get away from him, and the result is bittersweet.”
She added, “Jewish viewers will recognize a twist on the traditional Passover seder scene halfway through the play, as a young girl struggles to bring social justice to her family table.”
For tickets and information on all the Fringe shows, visit vancouverfringe.com.
On Aug. 29, the National Film Board of Canada released more than 60 films that now can be viewed free of charge on nfb.ca. Among the new releases is Chi by Anne Wheeler (2013). The documentary follows Canadian actress Babz Chula (seen in the background of the photo) to Kerala, India, where she is to undergo treatment by an Ayurvedic healer in an effort to manage her six-year battle with cancer. The bare-bones Indian clinic at first disappoints, but Chula is uplifted, as her condition seemingly shows signs of improvement following treatment and introspection. Returning home, however, it is revealed that her cancer has advanced. Amazingly, the actress invites Wheeler to continue bearing witness to her journey into the unknown. Chula died on May 7, 2010.
אמזון מתכוונת בשלב זה לגייס כשלוש מאות עובדים לסניף המפואר בבניין ‘טאלס גארדן.’ (צילום: telusgarden.com)
תופסים קנדה: אמזון מגייסת עובדים מישראל לסניף החדש בוונקובר
ענקית המסחר האלקטרוני האמריקנית – אמזון, מגייסת בימים אלה עובדים בין היתר מישראל, לסניף החברה החדש בוונקובר. נציגי החברה האמריקנית הגיעו לאחרונה לישראל במטרה לגייס עובדים לתפקידים שונים ובעיקר מהנדסים. זאת כדי לבנות מוצרים חדשים ולהעניק תמיכה לשירות הענן ‘אמזון ווב סרוויס’.
אמזון מתכוונת בשלב זה לגייס כשלוש מאות עובדים לסניף המפואר בבניין ‘טאלס גארדן’ ברחוב ג’ורג’יה בדאון טאון, שמשתרע על פני כ-91 אלף סקוור פיט. בהמשך מצוות כוח האדם תגדל לכאלף עובדים, והחברה תממש כנראה את האפוציה להכפיל את שטחו של הסניף. באמזון מקווים שיופיה של ונקובר וכידוע איכות החיים גבוהה שלה, תעזור לגייס עובדים לכאן. עם זאת רק לפני מספר שבועות התפרסם דוח בינ”ל על עליית מחירי הנדל”ן בשנה האחרונה בערים מובילות בעולם, ממנו עולה כי ונקובר נמצאת במקום הראשון עם עלייה גבוהה מאוד של 36.4%.
לאמזון שני סניפים נוספים בקנדה באוטווה וטורונטו והיא מתכוונת עד סוף השנה לפתוח סניף רביעי במונטריאול.
בשנים האחרונות ונקובר הופכת להיות מרכז טכנולוגי משמעותי, שמשמש בית לחברות בינלאומיות כמו מיקרוסופט, פייסבוק, טוויטר, סיילספורס ועוד.
זחל לפרסום: נחש נמצא בבור ביוב מתחת לכביש
שבוע שלם לקח לעובדי מחלקת עיריית ויקטוריה לתפוס את הנחש הכי מפורסם בתולדות עיר הבירה של בריטיש קולומביה. הנחש שאורכו חמישה פיט (שהם כ-1.5 מטרים) מסוג כרכן תירס, נמצא בבור ביוב מתחת לאחד הכבישים הראשיים בעיר. עובדי העירייה שפתחו את מיכסה הבור במסגרת עבודות תחזוקה רגילות (בפינת הרחובות קוואדרה ובלמורל), נדהמו לראות שנחש מסתובב לו חופשי בתוך הבור העמוק. הם הורירו מצלמה לבור שתיעדה את תנועת הנחש שתחילה חשבו שהוא ארסי. לאחר שהוזעק למקום לוכד נחשים התברר שמדובר בנחש לא מסוכן ולא ארסי – מסוג כרכן תירס.
הנחש כרכן תירס זכה לכינוי זה כיוון שעל גחונו יש משבצות שמזכירות קלח תירס, והוא נמצא בדרך כלל בשדות ואסמי תירס. הנחש טורף לילי שניזון ממכרסמים, ציפורים, צפרדעים ולטאות. כרכן התירס נפוץ באמריקה התיכונה והדרום מזרחית ובעיקר בפלורידה. לכן לא ברור כיצד בכלל הגיע לבור של מערכת הביוב בויקטוריה. לפי הערכה הנחש שכאמור לעיל אינו מסוכן לבני האדם וניתן לגדלו כחיית מחמד (בשל אופיו הנוח), נזרק על ידי בעליו ובצורה כלשהי הגיע למערכת הביוב העירונית. יצויין כי כל הנחשים ובעיקר כרכן התירס ינצלו כל הזדמנות לברוח מהשבי.
אם כן עובדי העיריית ויקטוריה נזקקו לשבוע ימים לתפוס את הנחש שמצא בית חדש בביוב. הם ניסו לפתות אותו בעזרת מלכודות עם עכברים ואביזרי חימום – אך ללא הצלחה. לבסוף הצליח אחד העובדים שירד אל בור הביוב לתפוס את הנחש העקשן. הוא הועלה על פני הכביש ונקשר. ולאחר מכן הועבר למתקן בעלי חיים ושם אגב השיל את עורו. עם תפיסתו מיהרה מחלקת הדוברות של העייריה לפרסם הודעה על כך, כדי הרגיע את הציבור המבוהל.
במהלך הימים בהם פורסמו באמצעות התקשורת תמונות של הנחש בביוב, התקשרו מספר אזרחים למוקד העירייה ודיווחו, כיבכול שהנחש שלהם. הגדילה לעשות ניקול פנרייס שטענה כי הנחש הוא שלה, שמו ‘מיקו’ והוא נעלם מביתה בדרך לא ברורה לפני כשלוש שנים.
אגב בוושינגטון הסמוכה לבריטיש קולומביה התברר בימים האחרונים, שבור ביוב שימש מגורים לא לנחש אלה לשני ילדים. הם הצליחו לברוח ולמשטרה אין מוסג מדוע הפכו דווקא את המקום הזה לביתם.