Cynthia Ramsay – Page 15

Honouring human spirit

Lorne Segal, chair of the Courage to Come Back Awards. (photo from kingswoodproperties.com)

This year marked the 25th anniversary of the Courage to Come Back Awards – and 18 years since Lorne Segal has been chair of the event.

“The first year I attended Courage as my father’s guest, I thought it was just another event – until I saw the box of tissues on the table. That’s when I knew Courage was different,” Segal told the Independent.

“Courage is so important because of the stories,” he said. “They give us hope. The stories that are shared every year move me and the whole room to tears, they put our own lives into perspective, and remind us of what the human spirit is capable of.

“And, of course, there’s the fact that Courage raises funds for such important programs at Coast Mental Health, which simply wouldn’t happen if it weren’t for the generosity of those in the room, who are inspired to give thanks to the stories our recipients graciously share with us. Programs like peer-support training, brain training, meals, art therapy, therapeutic gardening and much more are only possible thanks to donations – and they truly make such a difference for those who are able to access them.”

This year, the awards dinner took place at the Vancouver Convention Centre on June 9, and the honourees were Jodi Gray (mental health category), Rachel Goldman (medical), John Oakley (addiction), Patricia Henman (physical rehabilitation) and Danielle Laviolette (youth). The event included a special tribute to Segal’s father, Joe Segal.

“Joe always said, ‘Give until it hurts.’ His commitment to giving back to his community was such an inspiration to me and to so many around him,” said Segal. “After he passed away last year at the age of 97, I wanted to create an opportunity to share his message one last time, and to honour his incredible work over his long life. It was really moving for me and my family to hear so many people talk about how my father had touched their lives – I continue to be inspired by him every day.”

Calling it “truly a family event,” Segal said his children Matthew and Chanelle have been coming with him since they were little, and “there’s no doubt the recipients’ stories have shaped their lives and inspired them in their own pursuits. My wonderful wife Melita’s unwavering support for Courage and Coast amazes me every day,” he continued. “She may not be officially chair but she has certainly played a big part in the success of the event – she is always talking about the event to anyone she meets and many who attend do so because of her word of mouth.”

Many other members of the family also attended on June 9, said Segal, including his brother Gary and wife Nanci. “My sisters Tracy and Sandra could not be there but were part of our family donation in Joe’s honour,” he said.

Reflecting on his 18 years as chair, Segal said, “Honestly, I didn’t realize it was going to be this long when I signed up for the job, but, every year, I am moved by the recipient’s stories and just know they need to be shared.

“Twenty-five years ago, people were not talking about mental health,” he added. “It wasn’t a ‘sexy’ cause, as my father would have said, and the Courage to Come Back Awards have helped to create a lot of awareness and conversation. It’s my hope that these awards continue to help make us all more understanding…. It’s hard to believe we had 1,700 in the ballroom this year after four years without an in-person event, when it wasn’t that long ago we were barely allowed 10 people in one room! But we have continued to innovate and find ways to share our recipient’s stories and raise funds for Coast Mental Health Foundation.”

For more information, visit coastmentalhealth.com.

KDHS chai celebration

Left to right: Jeff Ross and Stephen Kaye, King David High School co-presidents in 2006, and Diane Friedman and Alain Guez, this year’s co-presidents. (photo from KDHS)

“At King David, Jewish memory and education intersect, creating a unique and powerful learning experience that prepares our students for a lifetime of meaning and purpose,” said King David High School board co-president Alain Guez in his closing remarks at the school’s Golden Thread Gala May 18.

The gala is KDHS’s primary fundraising event of the year, and more than 300 people filled the ballroom at Congregation Beth Israel, including some 50 King David alumni, to celebrate the school’s 18 years in its current building, at Willow Street and 41st Avenue. The school itself is double chai (36) years old, its origins being found in Maimonides Secondary School, which opened in September 1987.

“We would not be here today if Maimonides … had not started us on our path, our derech, to where we are now,” said head of school Russ Klein in his opening remarks.

“This evening is to celebrate what our community has built together,” he said. “The Diamond Foundation, who support so many of our community efforts, made King David possible with their generous support, belief in our importance, and their strong Jewish values.”

Rabbi Stephen Berger, head of Judaic studies at KDHS, noted that the event was taking place on erev Yom Yerushalayim. He compared Yerushalayim – “a holy place for all people, all people can worship G-d in this one place” – to KDHS, in that there are many different Jewish schools in Metro Vancouver but only one high school, and this one high school has to serve everybody across the religious and cultural spectrum. “We don’t always get it right, but it is a place where we can try, and respect and show love to everybody,” he said.

Event co-chairs Heidi Seidman and Sherri Wise said a few words about the school, as well. “It is important to note,” said Seidman, “that not one student is left behind and, when you look around the room tonight, you are all part of the village that makes that possible.”

As auctioneer, Fred Lee – who is a regular contributor to CBC, the Province, Boulevard and Vancouver Magazine – stressed this idea. He spoke about the Jewish community and the importance of the high school. He also helped raise funds that will go towards the school’s programs and students. There was a silent auction, a 50/50 draw and other opportunities to donate.

photo - Throughout the Golden Thread Gala, there were musical performances — Throughout the Golden Thread Gala, there were musical performances. *(photo from KDHS)*

The gala featured panelists Stephen Kaye, and Jeff Ross and Reisa Schwartzman, who were integral to the transition of the school from Maimonides to King David, and for taking the school from the portables it occupied on Baillie Street to having its own building on Willow. They were introduced in a video by their respective children, David Kaye and Zachary Ross, graduates of the inaugural KDHS Class of 2006.

Stephen Kaye came to Canada from South Africa, where there is a network of Jewish day schools called King David Schools. He described himself as “very passionate about Jewish education” and said, “The feedback we got from the community was that, if we could show enough commitment from parents to send their kids to a Jewish high school, there would be support from the community.” It was a hard sell, he said, but then the Diamonds bought the land at Willow and 41st.

Stephen and Sandy Kaye shlepped three kids from North Vancouver to King David in Vancouver, noted Klein, who emceed the panel discussion.

Ross spoke of studies showing that kids who have gone to a Jewish high school are more Jewishly knowledgeable and involved. And yet, he said that, in the beginning, there was almost a feeling that you were sacrificing your children to the experiment of a new high school, but that didn’t turn out to be the case. Ross gave Rabbi Mordechai Feuerstein, a co-founder of Maimonides, kudos for his efforts to keep the school going.

When the school was in “the shack” (portables) on Baillie Street, said Schwartzman, there were fewer than 60 kids and now there are more than 270. Back when she was helping bring KDHS into existence, she said she was confident this growth would happen, based on a survey that was conducted at Vancouver Talmud Torah, which would be the main feeder school into the high school. She was president of VTT at the time, and the survey of parents showed that about 50% of the kids from VTT would go to a Jewish high school if there were one.

Quality education was important to everyone, said Schwartzman, and one of the things the group behind KDHS did to ensure quality was to bring Perry Seidelman in as principal. Seidelman, who had some 30 years’ experience in teaching and administration at the time, had been contemplating retirement, but took on the principalship and held the position until 2008; he was succeeded by Klein.

In a video that featured Gordon and Leslie Diamond and their daughter Jill Diamond, as well as Class of 2023 students talking about how the school has positively impacted them, the Diamonds spoke of how proud they were of KDHS, its students, staff, and all the people who have given it its “personality” and contributed to its success. Calling the school “a labour of love for the Diamond Foundation,” Jill Diamond said, “And the most wonderful thing about King David is that it is teaching the Jewish values of tikkun olam, of chesed, of mitzvot and of tzedakah to the next generation of leaders of our community.”

Such has been the growth of the school that it added a modular unit last year, the building of which was funded by the Diamond Foundation. In her remarks with Guez, KDHS board co-president Diane Friedman spoke about how the addition is affectionately called the school’s “East Campus,” and thanked the foundation, as well as the donors who filled the modular with state-of-the art equipment, furniture and technology.

The evening came to a close with Klein and Seidelman. The former principal said he had worked at many schools before King David, and that he liked all of them – but he “loved King David.” He said he felt very proud as he looked around the room.

The gala also featured, under the direction of music teacher Johnny Seguin, the KDHS jazz band, who played at the cocktail reception – Luca Jeffery, Max Kimel, Jesse Millman and Nikki Wiseman – and performances throughout the night by singers Ella Ankenman, Kailey Bressler, Rachel Gerber, Mhairi Hemingson and Nikki Wiseman, with choreography credit given to Shai Rubin.

Gala committee members were Cyndi Ankenman, Dalia Bressler, Laura Feldman, Andrea Foxman, Nicole Ginsberg, Margaret Hemingson, Anna Herman, Ruth Jankelowitz, Joelly Simkin and Annie Simpson. Other volunteers were Lina Chernov, Kim Fisher, Jessica Forman, Simon Karsyente, Matilda Rosman Levsky, Melina Baum Singer, Gaenor Vaida, Jacqueline Wener and King David students Danielle Agulyansky, Eden Almog, Ali Fadida, Tamir Gini and Yuli Kabazo.

Laugh for good causes

Helen Schneiderman headlines and David Granirer emcees the Stand Up for Mental Health show at the Jewish Community Centre of Greater Vancouver on June 1. (photos from JCC)

“There are many comedy shows out there, but not many like this one,” Kyle Berger told the Independent. “I keep saying that this will be the ‘feel-good comedy of the year,’ but it really will be. These comics will show us that we can laugh at just about anything and feel inspired at the same time – with all proceeds going to incredible causes. I can’t wait!”

Berger is the sports coordinator at the Jewish Community Centre of Greater Vancouver and the delegation head of JCC Maccabi. He is also a stand-up comic and a producer with Rise of the Comics. It is in all these capacities that he is participating in the Stand Up for Mental Health comedy show at the JCC on June 1, 7:30 p.m.

A joint fundraiser for the Stand Up for Mental Health (SMH) Comedy Society and JCC Maccabi Vancouver, Berger is producing the event, with the support of Stand Up for Mental Health, and will be performing a set himself. “It will be a huge honour for me to share the stage with this crew,” he said.

“This crew” includes SMH founder, counselor and comedian David Granirer.

“Stand Up for Mental Health is my program teaching stand-up comedy to people like myself with mental illnesses as a way of building confidence and fighting public stigma,” Granirer explained. “We have been around since 2004 and have trained approximately 300 comics and done hundreds of shows for government, corporations, the military, correctional facilities, medical schools, etc.”

photo - Kyle Berger — Kyle Berger *(photo from JCC)*

Berger attended one of those performances last year, in which SMH Comedy Society showcased “their students’ incredible talents, and I absolutely loved it,” he said. “I knew some of the SMH Comedy board members from working together in the comedy scene and made the connection right away. They are always looking for venues and new audiences and I knew I wanted to do something with comedy as a JCC Maccabi Games fundraiser, so inviting them to team up seemed like a no-brainer to me.”

Also performing next week will be Helen Schneiderman, who headlines the show.

Schneiderman’s comic career began in 2018, when she took a comedy course at Langara College that was taught by Granirer. She said she did it, “mainly to get off the couch. I didn’t expect to love it so much, nor to continue doing it after the class. But, once I got my first few laughs, I was hooked. Over the past couple of years, I’ve gotten more comfortable sharing my experiences and perspectives, and I try to remember to always have fun up there.”

Being able to do stand-up comedy has influenced how Schneiderman navigates through life.

“I now see the world through ‘funny glasses,’” she said. “Every interaction and experience has the potential to be a joke – not always a good joke, but a joke nonetheless. My day job is delivering leadership training and so I get to have a captive audience, even at work.”

In addition to her day job and other involvements, Schneiderman has been on the board of SMH Comedy Society for four years, and board president for the past two years.

“I’m involved with the organization because it’s doing really important work to tackle the stigma of mental health,” she said. “It’s a fantastic program, and I am in awe of the comics who share their stories with so much vulnerability and smart humour.”

People can find out more about SMH at smhsociety.org. Post-pandemic, the society is once again holding live classes and shows, as well as continuing to put on Zoom shows. The pandemic, said Granirer, “made me realize that, by being creative on Zoom, we could reach people all over the English-speaking world. It also made me realize how much people need to have in-person contact in order to maintain their mental health.”

One of the reasons SMH is teaming up with JCC Maccabi Vancouver for this show, he said, is “because they’re a great organization and exercise is crucial to maintaining good mental health.”

The decision to partner was easy for Berger.

“As the delegation head for Vancouver’s JCC Maccabi squad, I am always looking for ways to raise money for scholarships so that anyone who wants to participate in the JCC Maccabi Games experience can do so,” he said. “At the same time, producing and performing stand-up is another hobby and passion of mine, so it always makes sense to me to raise money through laughter. I always love the opportunity to work with other causes or charities, and this one was a match made in heaven.”

The June 1 Stand Up for Mental Health show is being presented by JCC Maccabi Vancouver and Life is Still Funny, which Berger described as “a group of local comedians who might be considered, well, not particularly young, but still quite young at heart! Made up of locals like Helen, Ray [Morrison], as well as recent Canada’s Got Talent contestant Syd Bosel. They are all involved with SMH Comedy Society.”

In addition to Schneiderman, Berger and Granirer, Morrison will perform, as will a few SMH students. Tickets are $20 (plus fees) and are available at eventbrite.ca. There will be a cash bar and a raffle draw at the show. Berger said half of the proceeds will go to SMH Comedy Society and half to JCC Maccabi Vancouver.

Sizzlin’ Summer in June

The Vancouver Men’s Chorus “brings such an effervescent joy to the shows and the spring season in particular is a big party for the chorus and audience alike.” (photo by Mark Burnham Photography)

The Vancouver Men’s Chorus (VMC) Sizzlin’ Summer concert promises to be a lively and entertaining experience.

“The VMC is more than just your average choral concert – we have the chops to pull off some pretty complex vocal arrangements, but we also like to mix that up with pure upbeat fun,” said Jewish community member Dr. David Rothwell, who is one of the choreographers of the show, which sees several performances June 9-17 at Performance Works on Granville Island. “The group brings such an effervescent joy to the shows, and the spring season in particular is a big party for the chorus and audience alike,” he said. “Whether it’s pulling out some disco moves for a nostalgic trip to ABBA’s heyday, or donning umbrellas after a hairy forecast from the Weather Girls, the choreography put together by myself and my fellow choreographers (Randy Romero and Jason Yau) helps tell the story of our music and elevates that entertainment factor even higher. We even get the entire chorus to join along in their own way.”

Humphrey Tam, VMC’s vice-president of marketing and communications, as well as a singer in the choir, shared a sneak peek at the repertoire.

“In Sizzlin’ Summer,” he said, “we have music ranging from your pop classics like ‘The Raining Men,’ ‘Girls Just Wanna Have Fun,’ ‘Summer Breeze,’ to new hits like ‘Summer Time Sadness’ by Lana Del Rey and ‘New Rules’ by Dua Lipa, to the world première performance of ‘Ocean Songs’ by composer Gerry Ryan (former arranger and first tenor of the VMC) who, sadly, passed away few years ago.”

Conducting Sizzlin’ Summer will be VMC artistic director Willi Zwozdesky, who has been with the chorus since its inception; resident accompanist Dr. Stephen Smith has been with the VMC since the 1990s.

“Both of them are instrumental in the success of the Vancouver Men’s Chorus,” said Tam. “In 2021, we expanded our musical team to include an assistant conductor, David Buchan, who brought in another layer to our sound. On top of that, we have a full orchestra band in our concerts!”

The chorus rehearses every Wednesday, except during July and August, when they take a break; there are also extra rehearsals on Sundays a month or two before a concert.

While VMC is an audition-required group, Tam said the “singers are a mix of people with tons of background in music and theatre to someone who has no previous musical experience. We welcome everyone to audition and, even if you can’t sing, there are plenty of opportunities to join the chorus as a volunteer to help out with productions.” He said he was, before joining the chorus, “one of those who had no musical background except for playing the clarinet for one year back in Grade 8.”

Rothwell, who used to teach dance before moving to Canada from Australia, is an animator by trade, so “movement is my bread and butter, whether on the stage or the screen,” he said.

“After moving to Vancouver in 2018 with my husband, we saw the VMC performing their hearts out in the annual Pride Parade. We were quick to reach out to see if they were taking new members and, five years later, we’re basically part of the furniture!” said Rothwell. “We both grew up immersed in music, and it’s been a perfect way to pursue our interests and build a network of vibrant, talented friends in Vancouver’s queer community.”

About Jewish community, Rothwell said, “My mum reconnected with our family’s Jewish roots when I was a teen, so while I wasn’t immersed in that side of my heritage until that point, I’ve grown to recognize and appreciate the tenacity, humour and joie de vivre that I feel is ingrained in the Jewish spirit, including my own. These days, I’ll gladly join a seder and keep everyone’s cups full to the brim!”

For VMC member Dr. Etienne Melese, much of his connection to Judaism also came from his mother. “When I was young,” he shared, “she taught me about all the Jewish traditions, holidays, and growing up in New York helped, too.”

Proud of being Jewish, he said, “I feel the history deeply.” While Melese’s paternal grandfather survived the Holocaust, other members of his family did not. “We still visit their memorial in Paris (Mémorial de la Shoah) every time we visit, and I think about the courage it took survivors to live through that time,” he said.

Melese, who earned his PhD in immunology from the University of British Columbia and is currently working in biotech on designing new therapeutics for diseases such as cancer, said, “I came to the Vancouver Men’s Chorus because I wanted the opportunity to sing again. I had spent six-plus years doing my PhD and, during that time, had not been singing in a choir, which I used to enjoy so much! Also, the community – I wanted to expand my network of friends.”

Melese has been in many choirs over the years. What draws him to singing, he said, is “being able to express yourself. I find, through music, I am able to access so many feelings that are hard to just put into words…. I find there is an energy to choirs that can really change your outlook that day.”

Knowing that such benefits can come from choral singing, the Vancouver Men’s Chorus remained active during the pandemic, albeit in different ways.

“It was a very difficult time for the chorus,” said Tam. “From a choir point of view, not being able to sing as a group and perform was a huge loss to us; but, on top of all things, the VMC is a huge support group for our members, it’s a huge chosen family. Every week when we meet, we share our stories and we socialize. Not having that bonding time with each other definitely was strange and hard for some of us. Luckily, despite not being able to sing together, we still continued to have Zoom activities throughout the entire 2020 and 2021, and we recorded two digital concerts to keep doing what we love. Starting September 2021, we rehearsed together again but with masks and social distancing, and performed our first in-person concert in two years with Making Spirits Bright 2021 (also with masks on). Thinking back, I really don’t know how we did that.”

The VMC is a diverse and inclusive group, with members ranging from 18 to 70+ years old, said Tam. “We have open rehearsals every September and January for anyone to come join us at our rehearsals and sing with us,” he said. “From there, they can see if we are a good fit for them and sign up for an audition.”

Rothwell is keen for more people to experience the choir. “In addition to our spring season in June, the VMC also is well underway in preparing for our December season, Making Spirits Bright,” he said. “As always, our music selection committee makes sure to include songs for all holidays of the season; celebrating Hanukkah continues to be a mainstay of our setlist, along with the winter solstice and more. We’re gearing up for another great show this December, so I’d also encourage readers to keep an eye out for our next show, Cheers!, later this year.”

But, returning to Sizzlin’ Summer, Melese shared his favourite song: “‘The Summer Nights,’ a play on Grease, so fun!”

For tickets and more information, visit vancouvermenschorus.ca.

Yiddish alive and well

Yiddish has the odds stacked against it – the vast majority of its speakers were murdered in the Holocaust, its use was repressed in the postwar Soviet Union, Israel favoured Hebrew over it, and it faced the challenges that any immigrant language faces in a new country, including in Canada. Yet, Yiddish lives on, and can continue to do so, and even flourish, contends Rebecca Margolis, director and Pratt Foundation Chair of Jewish Civilization at Monash University, in Australia.

Margolis, who is originally from Canada, will be in Vancouver to launch her new book, Yiddish Lives On: Strategies of Language Transmission, at the Peretz Centre for Secular Jewish Culture on May 23, 7:15 p.m. Introducing Margolis will be the Vancouver Jewish Folk Choir with the song “Yomervokhets,” a Yiddish translation of “Jabberwocky” by Raphael Finkel, set to music by the choir’s conductor, David Millard.

The event is particularly special, as Margolis uses the Vancouver Jewish Folk Choir – in which I’ve sung for more years than I can recall – as one of many examples of a “created language space.” Such spaces are “sites that are deliberately created to support the continuity of a language that is not commonly a mother tongue or widely spoken,” she writes.

The small section that features the choir cites the work of local Yiddish scholar and translator Faith Jones, who is a member of the choir as well, and the book references a paper that she and I wrote together in tandem with the 2019 online exhibit marking the choir’s 40th anniversary. I have to say it was an exciting surprise to find a paper I co-wrote quoted, but it’s a quote from Faith’s 1999 thesis on the Yiddish library of the Peretz Centre (the choir’s home, too) that helped me clarify some of what draws me to Yiddish. In commenting on the intersections between Yiddish, politics and identity, Faith wrote that “what these strands have in common is the belief in the power of human beings to alter the course of history. In left political life, in feminist theory, in the movement for lesbian and gay equality, in the political culture of secular humanism, it is not the past which is romanticized, but the future. Yiddish does not offer the path to the past as much as to a collective future which is linked with the past: a better future, but better because of human endeavour.”

It is this human aspect – the intention we can possess – that runs through all of Margolis’s examples of the ways in which people, specifically Canadians, have kept Yiddish alive. She conceptualizes her book “as a series of expanding rings of engagement with the language and culture.” Each chapter focuses on a ring, while acknowledging the rings are interconnected: families (1950s to today), youth theatre groups (1960s to 1970s), literature (1970s to 1980s), singing (1990s to 2000s) and new media/technology (2000 to today).

Margolis explains that Yiddish exists in two communities: the Haredim (ultra-Orthodox), who speak Yiddish in their everyday lives, and the secular, people “for whom continued engagement with the language has taken place despite maintaining linguistic acculturation.” Margolis’s book is mostly about the latter group, but she does discuss the Haredim quite a bit and, to a much lesser extent, the experience of preserving Scottish Gaelic, which, she says, “is undergoing revitalization in Canada and abroad,” and Indigenous languages.

Yiddish Lives On is an academic book, but easy to read, and there are common threads that recur, so that, if you don’t quite understand a concept on first encounter, you will when it is used in a subsequent context. In addition to discussing scholarly texts, Margolis talks about Yiddish writers – in Canada between 1950 and 2020, more than 200 books were published in Yiddish! – and analyzes movies and shows like the web series YidLife Crisis, which was created by and stars Eli Batalion and Jamie Elman, two Montreal secular Jews who speak Yiddish, using “provocative comedic dialogue,” Margolis notes, “to address contemporary issues around Jewish identity.”

Margolis doesn’t expect that Yiddish will ever return to regular, everyday use by non-Haredim, however, she convincingly argues that “a language lives by being used” and that the many spaces that have intentionally been created for Yiddish – “from raising children as native speakers to a virtual Yiddishverse” – bode well for the language’s continuity.

To attend the book’s launch and the mini-concert that precedes it, register at peretz-centre.org.

The experience of a lifetime

There was no question that Zac Abelson (centre) would attend the Excelerate23 Summit in New York City this past March. (photo from Zac Abelson)

“I believe my Excel journey is only just getting started,” Zac Abelson told the Independent. “The last summer and the Excelerate conference have solidified my belief that there are not only bright young leaders in the world that will one day make an incredible impact, but that the Jewish community will forever be one that is strong, defiant, welcoming and passionate.”

Born in South Africa, Abelson moved to Canada with his family when he was 8 years old. “I have now lived in Vancouver for 15-plus years, being part of the Chabad Jewish community while growing up in South Surrey,” he said. “I learned my bar mitzvah on a tape recorded by my grandfather with the Chabad rabbi and went back to do my bar mitzvah with my grandfather in South Africa.”

Last year, Abelson was one of 60 international students chosen for a Birthright Israel Excel summer internship in Israel. One of the highlights of working with Deloitte, the company with which he interned, was “getting to learn and understand how the Israeli culture conducts business and truly see the impact they have on the world without most people knowing,” said Abelson.

Birthright Israel Excel, which started in 2011, is described as a business fellowship that offers select students an internship in Israel, followed by membership in a “community of peers focused on professional development, personal growth, Israel engagement and philanthropy.”

The most exciting part about being selected for the program, said Abelson, was the people.

“Excel selects not only the best and brightest but also the most genuine and caring individuals,” he said. “Being able to spend 10 weeks in a tight-knit community made every moment a life-changing experience and every memory one I will never forget. Mix those people with all that Israel has to offer and you have a recipe for an incredible summer.”

It was “an adjustment to be surrounded by so many talented people from the best schools in the world,” he acknowledged. “One can see it as daunting, but I chose to see it as an opportunity to learn and mix with the people who will push me to be a better version of myself.”

Abelson has just completed his studies at the University of British Columbia Sauder School of Business, graduating with a bachelor of commerce. “I now work full-time in real estate development,” he said, “helping shape and grow diverse and sustainable communities.”

In March, Abelson was one of more than 300 Birthright Israel Excel fellows from around the world who gathered in New York City for the Excelerate23 Summit.

“Having had such an incredible time with the Birthright Excel community this past summer in Israel, attending the Excelerate Summit in New York City was no question,” he said. “The opportunity to again be surrounded by such incredible Jewish leaders and innovators is rare and one I wanted to take full advantage of.”

Throughout the March 24-26 weekend, attendees participated in networking, industry panels and discussions about topics such as business development, Jewish identity and Israel engagement. The summit also held workshops on combating antisemitism.

Among the events Abelson attended was one entitled Scrappy to Scaled: How Entrepreneurs Turned Startups into Sustained Multi-Figure Operations.

“This was a fantastic session where we truly got to hear the grit required to turn an idea into a reality,” he said. “What I found fascinating was listening to Nathan Resnick – seeing how, rather than conforming to the expectation of what businesspeople and investors would look for, he allows his true light and personality to shine through, ultimately getting investments in the person over the product.

“Additionally, listing to [activist and former NBA player] Enes Kanter Freedom speak about his journey from hatred of the Jewish people to now embracing the community was eye-opening. It was unbelievable to see how his deep passion for acceptance and the international community drives him every day despite all that he has had to sacrifice. It also puts into perspective the sad reality of how stuck in the past the world still is and how unwilling to speak on important issues many sporting organizations still are.”

When asked what three things he would recommend about the Excel program, Abelson said, “One, you don’t know the value of an international network until you truly have one. Excel has allowed me to since travel the world and feel comfortable knowing there will always be an Excel fellow somewhere close by.

“Two, the feeling of connecting with like-minded, passionate and bright Jewish business leaders … will fill you with joy and hope for the future of both Israel and the world.

“Three, the Excel experience is more than just adding the internship to your resumé. It’s an experience of a lifetime that everyone in interviews will be intrigued with and ask you more about. Few in the workplace have such a wonderful story to tell.”

For more information about the programs offered, visit birthrightisraelexcel.com.

Teapacks brings happiness

Israeli music pioneers Teapacks perform at the Queen Elizabeth Theatre May 14 (photo from Teapacks)

“We will bring a lot of Mediterranean happiness, with a lot of Jewish chutzpah,” Israeli singer-songwriter Kobi Oz told the Independent about Teapacks’ upcoming concert here on May 14. The event at Queen Elizabeth Theatre is the culmination of the community’s many Israel @ 75 celebrations.

Teapacks will sing about 30 of their hits, spanning their more than 30 years of composing and performing. Plus, said Oz, there will be many “duets with our fabulous female lead vocalist Shani Yizhari, one Arik Einstein cover, one Moroccan song and our version of Hatikvah.”

Teapacks was established some 35 years ago. Named after the correction fluid Tipp-Ex, Oz has explained the choice to be related to the band’s aim to “erase boundaries between people,” but the English transliteration of the name was changed relatively early on to Teapacks to avoid infringing on the trademark. (The Hebrew remains the same.)

Oz and Gal Peremen (bass) are founding members, and Rami Yosifov (guitar) is basically one, too. The rest of the band is Yizhari (vocals), Motty Joseph (drums), Shahar Yampolsky (accordion and synthesizer) and Adam Mader (violin, mandolin, flute and trumpet).

“We are good friends,” Oz told the Independent. “Playing in a band like ours is like riding a bike – you cannot unlearn it. We are like a mobile circus, very different from each other but something funny and worth dancing is always happening when we start making music together.”

photo - Teapacks members are good friends — Teapacks members are good friends. *(photo from Teapacks)*

Teapacks is credited by many as having led the way in making Middle Eastern music popular in Israel.

“Teapacks is basically a get-together of three kibbutz members from the northern Negev, with me from Sderot, a small town populated with Israelis who made aliyah from Morocco,” Oz explained. “From the start, we tried to make music that would go with each other’s taste – I brought the rai [Algerian folk] music influence and they came with rock and Israeli folk. Mizrahi Oriental music was ‘underground music’ and wasn’t played on the radio as often as it should be. Teapacks offered a sound that was suited to ’90s playlists, with refreshing ethnic lines and sound – Teapacks opened the door to [Israeli singer] Sarit Hadad with two smash hit duets.”

Oz said the band “started as a funny electronic pop band. With time, we became more acoustic, with social awareness messages, incorporating an elegance – accordions with oud and rock beats.

“We were pioneers in Israeli hip-hop from 1992, but our 1999 Disco Menayak album was filled with sampled tracks from old Israeli vinyl [recordings],” he said. “Our last three albums are all about blending these styles and creating the right balance between electronic and acoustic instruments, hip-hop and Israeli and North African folklore.”

About performing in the Diaspora for Yom Ha’atzmaut, Oz said, “I believe the Jewish people is one big cultural fabric, in Israel and all over the world. We know that music is a great way to celebrate this deep connection. For us, it’s like singing for our families. A lot of politicians are trying to tear us apart, inside and outside Israel. We believe that our music is the right dance floor for a lot of people longing to be together.”

The concert event at the Queen Elizabeth Theatre on May 14 starts at 6:30 p.m. The program will include the national anthems of Canada and Israel and a prayer for Israel by the Jewish day schools (Vancouver Hebrew Academy, Vancouver Talmud Torah and Richmond Jewish Day School). Local Israeli dance groups will perform, there will be a few speeches, a surprise video and Teapacks. The night’s emcees are honorary co-chairs Jonathan and Heather Berkowitz.

For tickets ($18 plus fees; children under 5 are free), go to jewishvancouver.com/israel75.

Flamenco of contrasts

Lili Flamenco / Liat Har Lev performs two solos in the Dance Centre’s Open Stage Edition #3 on May 6, 8 p.m. (photo from Lili Flamenco)

The Scotiabank Dance Centre’s Open Stage Edition #3 on May 6 includes two solos choreographed and performed by Lili Flamenco / Liat Har Lev: We Shall Not Forget, dedicated to the six million Jews killed in the Holocaust, and Lemons, in the flamenco style Alegrias, which means “happiness” in Spanish.

“Although my family was not directly affected by the Holocaust, growing up in a Jewish family I heard and learned about it…. I created this piece with the hope that I and the audience will connect to the experience of the victims and survivors on a deeper level and remember what they endured just because they were Jewish,” Har Lev told the Independent.

In contrast, she said, “Lemons has an uplifting, joyful mood and a vibrant rhythm, harmony and pulse. It has more of a traditional flamenco flavour and will be performed with a guitarist [Peter Mole] and singer [Pat Keith]. It is inspired by my personal artistic journey and celebrates optimism and grit. I chose to perform it in conjunction with We Shall Not Forget because it has a lighter mood … and is completely different stylistically.”

Har Lev performed We Shall Not Forget last year as part of the Dance Centre’s International Dance Day events. (See jewishindependent.ca/a-celebration-of-dance.)

“I started developing We Shall Not Forget in 2020 during the pandemic with the support of the 12 Minutes Max program. I had access to support and feedback from facilitators, I received subsidized studio space at Scotiabank Dance Centre, and had the opportunity to participate in an informal public showing which, unfortunately, had to be featured on Zoom because of the pandemic. I never actually performed We Shall Not Forget to a live audience.”

In addition to Har Lev, Open Stage Edition #3 features dance works by Kiruthika Rathanaswami and Malavika Santhosh (in the classical Indian dance style of bharata natyam), Lili Shilpa Shankar (bharata natyam) and Voirelia Dance Hub (contemporary dance). For tickets, visit thedancecentre.ca.

Har Lev will also be performing at the Festival of Israeli Culture at the Jewish Community Centre of Greater Vancouver on May 14.

Rabbi launches book at BI

Rabbi Paul Plotkin returns to Congregation Beth Israel for the Canadian launch of his new book, Wisdom Grows in My Garden. (photo from AIA Publishing)

In part to fill his need to nurture – his kids off to college and his congregation less reliant on him – Rabbi Paul Plotkin took up gardening. Not only has he produced some of the most expensive tomatoes, taking into account all the capital that goes into every one that makes it into a salad or sandwich, but he has produced a new book: Wisdom Grows in My Garden (AIA Publishing). And he will launch that book in Canada on May 10, 7:30 p.m., at Beth Israel Synagogue, where he began his rabbinical career.

“I started in the summer of 1976 as Rabbi [Wilfred] Solomon’s first assistant, and he left for Israel after breaking his Yom Kippur fast on the way to the airport, and the 26-year-old ‘kid’ took over. Rabbi [Marvin] Hier was away from the Schara Tzedeck for most of the year preparing to build what was to become the Simon Wiesenthal Centre, so I was thrust into the position of often being the Vancouver non-Reform senior rabbi. It was quite a ride. It was a good thing I didn’t know what I couldn’t do, or I would have been paralyzed with fear. Instead, I jumped in and went to work.”

While BI was his first pulpit, Plotkin said, “I had been a youth director of my home synagogue while in college and in New York while at the seminary. I learned a lot about programming and leadership from those jobs and translated it into heading a synagogue.”

He admitted that the experience “was not without mistakes but what I couldn’t entirely appreciate was the menschlichkeit of my members. They appreciated my enthusiasm, my passion and my sincerity and pardoned most of my excesses and faults. It was a truly Canadian thing. I know now how special it was because my other two congregations in Florida were a lot different. Years later, I would share privately that my ‘worst critics’ in Vancouver treated me better than my good friends in Florida. By being thrown into the fire and succeeding – succeeding was a low bar, if the shul was still standing when Rabbi Solomon returned, I would have been praised – I learned of the potential people had for change, of their desire for knowledge, and that I could actually help transform people into greater commitment to mitzvot and the Jewish people.”

Plotkin was born and raised in Toronto, but has lived in South Florida for more than four decades. He is rabbi emeritus of Temple Beth Am and served on the Rabbinical Assembly’s committee on Jewish law and standards for some 20 years. He is the founding chair of its kashrut subcommittee and also is in charge of kashrut for Ben’s Kosher restaurant chain. He loves food and cooking. And Canada still holds a special place for him – he and his wife own a townhouse in Whistler, “primarily as a new summer cottage for after retirement,” he said. “We will be there for four months this summer.”

An avid writer, publishing articles in various newspapers and magazines, Plotkin has a blog on medium.com. He published a book some 20 years ago – The Lord Is My Shepherd, Why Do I Still Want?: Ancient Wisdom for the Modern Soul (Eakin Press) – but waited until retirement to write his second.

“First, in those days, I had to triage my time and creative mental energy. I also needed more age and seasoning for all of the pieces to melt together. Pirkei Avot teaches us to see wisdom in the elderly. Great red wine isn’t great in its first year. It takes years to develop nuance and subtlety. Creation of the book was no different.”

The idea came to him in a dream, he said.

“Unfortunately, I was still in my active work years, with an 1,100-family congregation. Finding time to breathe was hard, let alone write a book, so I made it a priority in retirement. Over the years after the dream, new ideas would come to me in the garden and I would jot them down and throw them into a file with the dream material.”

In describing the book, Plotkin said, “Technically, it is a narrative memoir, because it is my story and told entirely from my perspective, but it is not in its heart a memoir. It revolves around the garden, but you won’t improve your tomato growing by reading the book. It is, in essence, a life lesson book (indeed, there are 25 life lessons in the book) that will help guide you to a better life. It is filled with humour and stories, two tools that featured prominently in 40 years of sermons. It will offer the reader some important guides to navigating a better life. I like to tell Jewishly knowledgeable audiences that the garden was my ‘Torah,’ my book is the Midrash.”

Plotkin said “gardening is a wonderful emotional and humbling pastime” and cited a recent article that “extolled its value as an alternative choice for exercising.”

“If you haven’t got time,” he said, “try a few herbs in a pot on the windowsill. If you have a black thumb, grow zucchini. In northern climates, everyone grows so many, they start to call friends they don’t have to offer them some. If you read the book, the irony of this last statement will become clear.”

Of the feedback he has received so far – from readers in his own demographic, as well as that of his mid-40s son, from Jews and non-Jews, from observant people and atheists – Plotkin said, “much to my shock, they all liked it and, yet, like a Rorschach test, they all found messages in my lessons that reflected their needs or interests. There is something in this book for everyone.”

Chapter 1 of Wisdom Grows in My Garden takes place at Beth Israel, said Plotkin. “I hope many readers and especially those who may remember me from their bar/bat mitzvahs and weddings that I officiated at will come out to the evening and say hello,” he said.

Powerfully against othering

Into the Little Hill runs May 19 and 20 at SFU Goldcorp Centre for the Arts, Fei and Milton Wong Experimental Theatre. (photo by Flick Harrison)

“Into the Little Hill is a powerfully emotional opera,” soprano Heather Pawsey told the Independent.

Pawsey is the artistic director of Astrolabe Musik Theatre, which, with Simon Fraser University Woodward’s Cultural Programs, is presenting the opera’s Canadian première May 19-20. A multidisciplinary, modern take on the medieval story of the Pied Piper of Hamelin, Into the Hill features two singers, three dancers and live music. Written by English composer George Benjamin with libretto by Martin Crimp, Jewish community member Idan Cohen of Ne.Sans Opera and Dance is the local production’s director and choreographer.

“From the moment I first heard Into the Little Hill, I knew I had to have dancers in the production,” said Pawsey. “My company, Astrolabe Musik Theatre, has been experimenting with dance and movement in classical music, in varying degrees, for over 10 years now. Dance and movement are such normal, natural, innately human ways of expression, yet we see it so rarely in opera and classical music.”

When she heard Into the Little Hill, she said, “I literally saw the dancers in my mind … and knew that this was the perfect opera to intentionally incorporate them as amplifications of the characters, as commentators on the story, and as true partners with the singers (who are also precisely choreographed).”

After that, she was just “waiting for the perfect person with whom to work.” And she found that person in Cohen – his company, Ne.Sans, exists to reimagine and reconnect opera and dance.

“When Idan and I met in Amsterdam in 2018 on an opera I was singing and he was directing, I knew at the first rehearsal that he was the person I’d been waiting for: someone who knows music, who knows dance, who can work with professional dance artists and with singers who may have little or no dance training, and whose knowledge and experience come together in a profound understanding of the possibilities of singing and dance.”

“We’ve connected on so many levels,” said Cohen of Pawsey, who introduced him to Into the Little Hill. “Since then,” he said, “we’ve enjoyed many long conversations about this wonderful opera that is so close to both our hearts. I am so excited to finally be able to share our version of this brilliant work.”

“As far as I know,” said Pawsey, “l’Opéra de Montréal is the only other company in Canada to have produced one of George Benjamin’s operas (Written on Skin, his second). In 2014, I watched Written on Skin on MediciTV and literally got goosebumps. Singing contemporary music is a huge part of my career, yet I had never heard of this composer nor heard music anything like his: crystalline, precise, profound, spare, yet filled with emotion, colour, shadow, passion and power. I looked him up immediately and discovered that Into the Little Hill was (at that time) the only other opera he’d written…. I knew then that I had to produce (and sing!) it; that it would have dancers; and, voilà! A decade later, here we are. This opera speaks so profoundly against ‘othering.’ I know that people will come away having experienced something powerful, intense and beautiful.”

Pawsey and mezzo-soprano Emma Parkinson sing all six of the opera’s characters.

“One of the things I love the most about Into the Little Hill is its exquisite precision,” said Pawsey. “Vocally, orchestrally, dramatically, dramaturgically there are no extraneous notes, no extraneous words, and the power of this concentration is intensified by having only two singers portray all the roles. We aren’t distracted by multiple singers coming on and off the stage, nor by the differing ranges and timbres of their voices – we have focus.

“We also have gender-neutrality, something that is difficult to achieve in traditional opera, where characters’ genders have historically been determined by voice-type (ie. tenor, soprano, etc.). Having only two singers sing all the roles makes gender, sexual orientation or how one presents to the world irrelevant, and leaves the make-up of the characters to each individual audience member’s imagination. As an artist, it frees me from having to imagine or recreate assumptions about how ‘men’ or ‘women’ move, behave and speak (sing), and allows me to enter fully into what that character is actually expressing. My hope is that this also helps audiences to identify more freely with the characters.”

The opera speaks to Cohen on many levels.

“As a queer artist, a descendant of Holocaust survivors, coming to Canada from Israel/Palestine, I have always valued the importance of raising voices of underserved communities and to acknowledge our troubled past, learn from it, and aspire to do better,” he said. “I chose to leave my country in search of a better future and, as I arrived in Canada in 2017, I was amazed to find how relevant the history of Canada is to my own, from multiple angles, both as the oppressed and the oppressor, often against my will.

“My work is embedded in this life experience and perspective, and I am passionate in telling classical stories through alternative lens,” he continued. “Into the Little Hill is such a powerful opera that speaks of the human condition in a very creative way. There are different ways to speak of the tragic history of Western culture, and one of the reasons I chose to be an artist is because I see the importance of speaking of the violence and hurt, and to fight against discrimination.

“This opera is such a great, complex example of the fact that there is no one source of harm, and not one source of knowledge and perspective,” he said.

Critics have generally lauded Into the Little Hill, though some have expressed concern over the way in which the story is told.

“The narrative style of this opera imposes a certain detachment or distancing,” Pawsey said. “Traditionally, opera is all about emotion – big, huge, dare I say OPERATIC emotion! Here, Martin Crimp’s libretto uses Brechtian techniques (such as the Narrator directly addressing the audience, breaking the fourth wall, etc.) to discourage the audience from becoming too emotionally involved. Brecht used these techniques to encourage a deeper focus on the socially significant aspects of the story. This is particularly relevant in this opera’s tale of ‘who are we labeling as the “rats” in our society, what are we willing to do to get rid of them and what happens when we refuse to “pay the piper,” ie. take responsibility for the consequences of our actions?’

“Detachment, distancing – this is what we, as humans, do when we label, when we ‘other,’ when we divide into ‘us’ and ‘them.’ It’s a part of the de-humanizing process, which allows us to plan or to undertake horrific acts. But this is not to say that audiences will feel emotionless at the end of Into the Little Hill,” she stressed. “Fascinatingly, the muting of emotion evoked for individual characters and their stories makes us feel even more deeply and keenly the emotion of the story overall and how its outcome affects all the characters – and, by extension, us.”

Into the Little Hill takes place at SFU Goldcorp Centre for the Arts, Fei and Milton Wong Experimental Theatre. Conductor Leslie Dala is music director for the production, whose orchestration includes bass flute, basset horns, mandolin and banjo. Lighting design is by Victoria Bell, with costume design by Elena Razlog. The dancers are Juolin Lee, Daria Mikhalyluk and Hana Rutka.

For tickets and more information, visit littlehill.eventbrite.ca.