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Category: Arts & Culture

Fragmented childhood

In a recently published memoir, A Childhood on the Move: Memoirs of a Child Survivor of the Holocaust, René Goldman, professor emeritus of Chinese history at the University of British Columbia, pieces together a fragmented and tragic childhood and adolescence.

Having migrated to Luxembourg from Poland, Goldman’s parents then fled the advance of the Nazis into the Benelux countries. The family made their way through occupied France hoping to sail from a Mediterranean port to South America. While their passage was interrupted, the family at least found themselves in France’s “free zone,” the southern area governed by the German-puppet Vichy regime, but not directly administered by the Nazis. While granted a period of comparative normalcy – unlike, Goldman notes, Jews in the north like Anne Frank and her family – eventually there was a roundup.

image - Childhood on the Move book coverGoldman was awakened by his mother and told that police were demanding they go to the train station. Why his father was not with them at that time Goldman does not know. Nor does he know why he was spared the fate of his mother.

“The entire station was a scene of bedlam, with men, women and children being pulled, shoved and hurled into the train,” writes Goldman. “Just as the commissar was about to throw me into the train as well, two gendarmes in khaki uniforms appeared in the nick of time to stop him. Without a word he let go of me…. That was the last time I saw my Mama.”

An aunt arranged for Goldman to be hidden in a rural village, which would become the first of countless temporary shelters for him. In an excruciating series of hasty moves, Goldman was transferred from the protection of one adult or institution to another. In some instances, the adults and his fellow children were amiable, in others far less so. Despite the instability and constant uprooting, he usually managed to attain some education in almost every one of his hiding places. At a Catholic institution, he and other Jewish children were assigned new identities and warned never to let anyone see their private parts, “since in France only Jews were circumcised.”

When finally the allies reached the village where Goldman was hidden, and he reconnected with his aunt, she told him that his father had joined the Free French forces and would return after the war. It’s not clear if she believed this. “Alas, even as Paris was about to be liberated, [Klaus] Barbie [the Nazi known as the ‘Butcher of Lyon’] hurriedly filled up one last train with victims destined for the death camps, a train which the Resistance vainly sought to derail, or otherwise prevent from reaching Germany,” writes Goldman. “Decades later I learned that my beloved Papa was among them.”

Though now liberated, things did not, of course, return to normal for Goldman. The winter of 1944-45 was a harsh one and food was scarce. Meanwhile, the war continued and the allies suffered setbacks in the Battle of the Bulge. “That unanticipated delay caused the Allies heavy losses, while thousands more victims, among them my father, perished in the Nazi death camps,” he writes.

Moreover, Goldman’s surviving aunt and uncle in France, with three children of their own, found they could not care for him. They sent him to a colony run by a Zionist organization, where he received a Zionist education, including a bit of Hebrew, to prepare the young people for aliyah. When the war finally ended, the children at the colony waited for news of their parents. “Daily I hung around the little railway station after school hours, sometimes alone, sometimes with others, scrutinizing the passengers who came off the afternoon train from Grenoble in the vain hope that Papa might turn up among them,” he writes.

The Jewish community in Grenoble hosted a photographic exhibition of the Shoah. “I felt my head spinning with shock and disbelief as I stared at the photos of emaciated, skeletal looking ‘déportés’ in striped uniforms; of heaps of corpses stacked like cord wood; and of the gas chambers and crematoria, in which millions were burnt to ashes.”

Goldman was entrusted to the Commission Centrale de l’Enfance (CCE), a product of the underground groups that had hidden Jewish children and that was now attempting to reunite them with surviving relatives or adopt them if they were orphaned. At the CCE homes, the children were indoctrinated with communist ideals. Some did not take to them, but Goldman emphatically did. He was enraptured with the idea of the socialist experiment taking place in Poland, the land of his parents’ ancestry. He opted against joining his maternal aunt and uncle in migrating to Canada, instead moving to Poland, where his huge extended family on both sides, save one paternal uncle, had all been killed in the Shoah.

He worked at the Polish national radio station, reading news and commentary and translating material for broadcast to France and Belgium, while struggling to master the notoriously complex Polish language. Disenchantment with communism began when he was chosen to participate in a summer program for boys at a beautiful resort town at the southern end of Poland in the Karkonosze mountains. The program was primarily aimed at the children of Polish émigrés in the West. While Goldman was excited to speak French again with some of the campers, the “counselors” were warned not to let on that they understood the languages the youngsters spoke. The director of the colony demanded of the boys who knew French to translate into Polish the letters the children were writing home to ensure the news from the old country met the standards of propaganda. Goldman refused to be a spy, however, and the other French-speakers followed suit. The protest was effective, and the boys could again enjoy the camaraderie of their guests.

Goldman was also aware of the antisemitic purges in Czechoslovakia and Moscow at the time, in which Jewish party activists were convicted as “agents of American imperialism and Zionism.”

In 1953, a delegation visited Goldman’s school, inviting students to apply to study abroad, primarily in the Soviet Union. Being an excellent student, he applied and was accepted to a program to study in China, where he would spend five years, during which time his enchantment with communism would come to an end. He was there during the period when Mao Zedong declared that China would “let 100 flowers bloom, let 100 schools of thought contend.” This was a trap, luring people into expressing their true beliefs and then dragging them into “struggle meetings” in which they were denounced, beaten, humiliated and forced to incriminate others. Then, in 1958 began the Great Leap Forward, the collectivization and forced industrialization of rural Chinese society, which resulted in a famine that claimed between 30 and 40 million lives.

Abandoning China, Poland and communism, Goldman received a scholarship to Columbia University, and reconnected with what was left of his family, in Canada, and eventually spent a long career as a professor of Chinese history at UBC. “The wonderful port city of Vancouver became the end destination of a life of wandering from country to country,” Goldman writes.

While his life on the move finally ended, he would never find solace. It would take decades for Goldman to piece together what he could of his parents’ fates. In 1965, he met a man in whose arms his father had died during a death march from Auschwitz in 1945. He never found any witnesses to his mother’s death, but he found a record of the convoy she had been on to Auschwitz-Birkenau: “Of the 407 women who arrived at Birkanau on that train, only 147 were registered and had a number tattooed on their forearm; the others were sent directly to the gas chambers,” he writes. “I can only assume that my mother, being small and frail, was among the latter, unless she died because of the atrocious conditions in which the doomed passengers of that train traveled. I never learned for certain what happened to her; there will never be closure for me.”

Pat Johnson is a Vancouver writer and principal in PRsuasiveMedia.com.

Posted on November 7, 2014November 16, 2014Author Pat JohnsonCategories BooksTags CCE, Commission Centrale de l’Enfance, Holocaust, René Goldman
Creepy, well-crafted thriller

Creepy, well-crafted thriller

In her film The German Doctor, Lucia Puenzo tries to capture Josef Mengele’s “very sociopathic, complex personality.” (photo from Vancouver Jewish Film Festival)

As a high school student in the 1990s, Lucia Puenzo was fascinated and mystified by an open secret: hundreds of Nazi war criminals found refuge in her native Argentina.

“I was intrigued that so many families knew what was going on because they had a German man on their block or somewhere in their neighborhood,” recalled the acclaimed novelist and filmmaker. “Maybe they didn’t know so much in the ’60s and ’70s but, by the ’80s or ’90s, everybody knew. How could they not open their mouths and say what happened? It had a lot of echoes of our military coup d’etat, where so many Argentine families didn’t speak out.”

In her 2011 novel Wakolda, Puenzo explored the devious machinations of a German doctor in the Patagonian town of Bariloche circa 1960 who befriends a young girl. The erstwhile physician injects her with growth hormones before turning his attention to her pregnant mother, distracting the suspicious father with a plan to mass-market his handmade dolls.

Puenzo adapted the novel for the screen, shifting the point of view from the doctor to the child. The German Doctor, which swept Argentina’s major film awards and was the country’s official submission for last year’s Oscar for best foreign language film, is a creepy, precisely crafted thriller made more unsettling by its restraint. It screens Nov. 12 in the Vancouver Jewish Film Festival.

At 37, Puenzo has already published five widely translated novels and directed three singular films, including XXY, her prize-winning tale of an intersex teenager. Smart and fearless, she is attracted to subjects that others find off-limits or taboo – like the Nazi presence in Argentina.

“For me, the big mystery has always been why this subject, that could be a hundred films and a hundred novels, has never been taken to film before,” she explained in a long-distance phone interview. “We have maybe a few excellent documentaries on the subject but not one fiction film, and maybe we have five or six novels, and that’s all speaking about the subject.”

The German Doctor did solid box office in Argentina, which Puenzo sees as confirmation of pent-up interest. The film has been released in dozens of countries, including several European nations.

The film succinctly illustrates how a cautious physician who adults would view with suspicion, let’s call him Josef Mengele, could win a child’s trust.

“In the camps, there were so many horrible testimonies of how kids would call him Uncle Mengele. He would have sweets to give to the children and then he would take them to his experiments,” Puenzo said.

The German Doctor captures that deviousness and single-mindedness, while persuasively depicting the polite veneer Mengele devised to mask his lunacy and deceive people.

“After the war, after the concentration camps, he disguised himself as this very civilized, seductive, enchanting man that lived for decades in three countries of Latin America without anybody suspecting who he was,” Puenzo said. “I think that’s how you have to portray this very sociopathic, complex personality who disguised himself. He was not the stereotype of the bad guy whom you could see coming.”

Puenzo comes across as earnest and serious but, befitting someone with a master’s degree in literature and critical theory, she recognizes the relationship between pop culture and popular perceptions of history.

“I remember films like The Boys of Brazil,” she said. “I loved it in a way, it’s such a strange film, but at the same time it’s a stereotype of Mengele. I think to honor these most horrific monsters, you really have to show them in all their complexity. They were much more dangerous than we think.”

The German Doctor is in Spanish and German with English subtitles; it is rated PG-13 for thematic material and brief nudity. For the full schedule of this year’s VJFF, which started Nov. 6, visit vjff.org.

Michael Fox is a writer and film critic living in San Francisco.

Format ImagePosted on November 7, 2014November 5, 2014Author Michael FoxCategories TV & FilmTags Holocaust, Lucia Puenzo, Mengele, Vancouver Jewish Film Festival, VJFF, Wakolda

Knishes: “Jewish soul food”

When I lived in New York for 10 years in the 1960s, going to the Lower East Side was a very regular part of my Sunday routine. However, while the name Yonah Schimmel might sound familiar to anyone traveling the same circuit during that time, regrettably, I never came across Mrs. Stahl. That’s because knishes were not part of my regular eating regimen.

That said, being a food writer and cookbook author, Knish (Brandeis, 2014) by Laura Silver was a fascinating read – because I learned more about the “pillow of filling tucked into a skin of dough” – but even more so because I learned about Silver’s favorite source of knishes: Mrs. Stahl in Brooklyn’s Brighton Beach neighborhood. When Mrs. Stahl went out of business, Silver’s “mourning” took the form of her search for “Jewish soul food.”image - Knish book cover

Silver has written on food and culture for the New York Times and the Forward, and she is the author of what her publisher calls “the one and only absolutely definitive biography of the knish,” making her the world de facto authority on the Jewish pastry.

Mrs. Stahl’s produced “baked round mounts, each plump with a stuffing, savory or sweet. Each piece – the size of a fist or just bigger – revealed a hint of filling on the top, a bald spot, as if for a yarmulke…. If you cut the knish in half, the cross-section revealed a membrane of dough that split the innards into chambers, like those of the human heart.”

From this, we divert to two of the strong influences in Silver’s life: her Riga-born grandmother who arrived in New York in 1906 and their relationship until her death, as well as the 2005 closing (after 70 years) of the infamous Mrs. Stahl’s, which started her on the journey. “Knishes,” she writes, “were my family’s religion.”

Beginning with the Brighton Beach Neighborhood Association, Silver investigates many New York connections to the knish; she travels to Israel, Paris, Warsaw, Bialystok and Knyszyn, Poland, where she found her family’s roots. She goes to Banff and St. Paul, where she finds groups of seniors making knishes, and San Francisco where she meets Mrs. Stahl’s granddaughter.

Closing her book, she lists the best spots for knishes today, including New York, Michigan, Baltimore, Boston, Florida, Los Angeles, San Francisco and Minnesota. The book also contains many pages of interesting notes, an extensive bibliography, an index and acknowledgments. In between, she recounts her visit to such knish hot spots as the Pasta Factory in Vineland, N.J., which purchased Mrs. Stahl’s bakery knish recipes. Then she tells the story of Gussie Schwebel, a New York knish maker, who learned that Eleanor Roosevelt was going to be in town and wanted to introduce her to the knish, several of which were dispatched at 5 p.m. on Jan. 27, 1942, to the first lady’s New York apartment.

Even if you’ve never been a big fan of knishes, this is an utterly charming book that recreates a bygone world and captures Silver’s hope that “Jewish soul food” is ready for its second renaissance.

In San Francisco, Silver met Toby Engelberg, Mrs. Stahl’s granddaughter and includes the famuos family recipe.

TOBY ENGELBERG’S POTATO KNISHES

Dough
3 1⁄4 cups flour
1 tbsp sugar
1 tsp salt
1⁄2 cup vegetable oil
1 cup lukewarm water

Turn oven on low until dough is ready. Mix flour, sugar and salt. Add oil and water. Mix with a spoon until the dough pulls together, or use a food processor or stand mixer (with a dough hook). Turn out on board and knead, incorporating all pieces. Knead until dough is one piece and is smooth and glossy. Turn off oven. Oil dough and place in oiled, covered bowl. Place in oven until ready to use. Let rest at least two hours; the dough should barely rise, if at all. Keeping the dough overnight in the refrigerator is fine. Bring back to room temperature before use.

Potato filling
6 lbs russet or new potatoes
1 cup oil
1⁄4 cup salt, or to taste
1 1⁄2 tsp pepper
8 cups raw thinly sliced onions

Scrub potatoes and peel (except if using new potatoes with very thin, unblemished skins). Boil about 20 minutes until knife tender and drain. Mash with a potato masher. Add oil, salt (not adding all at once and tasting as you add) and pepper, and mix. Stir in the onion.

Assembling and baking:
Vegetable oil and flour as needed

Preheat oven to 450°F. Roll out about half the dough on a lightly floured counter or table top. Roll with a handle-less, rod-style rolling pin out from the centre until dough is thin enough to see through, about 1/16-inch thick.

Oil top edge of dough with a pastry brush. Place two-inch diameter line of filling about two inches from top edge. Pick up top edge and drape over filling. Brush oil on dough in a two-inch strip on the bottom edge of the filling. Pick up the dough with filling and roll again onto the oiled dough, compressing the filled dough as you turn it. Repeat until the dough covers filling three to four times, being sure to always brush oil on the dough first. Cut to separate the filled potato knish log from the remaining dough. Cut off edges of filled dough. Cut the filled roll into pieces about six- to eight-inches long and coil like a snail, tucking last end under the coil. Alternatively, place roll onto ungreased cookie sheet, and slash with a knife crosswise every two inches. Either rolls or snails should be placed on the pan with an inch of space between. Repeat with remaining dough on countertop. When that is used up, repeat with reserved dough.

Bake 20-25 minutes (starting knishes on lowest oven rack and raising to top rack after about 10-12 minutes) until tops are browned and knishes are cooked through. Cool in pan. If cooked in rolls, cut into serving pieces. Knishes can be reheated in the oven or in a skillet on the stove top.

Makes 16-18 knishes.

Sybil Kaplan is a journalist, foreign correspondent, lecturer, food writer and book reviewer who lives in Jerusalem. She also does the restaurant feature for janglo.net and leads weekly shuk walks in English in Jerusalem’s food market.

Posted on November 7, 2014December 22, 2014Author Sybil KaplanCategories BooksTags knish, Laura Silver, Toby Engelberg
Special night with VSO

Special night with VSO

Michael Fish initiated a unique VSO-JFSA collaboration, which will see JFSA clients attend the symphony on Nov. 15. (photo from Michael Fish)

“There is a direct relationship between cultural experiences and good health. Whether it’s participation in the arts or appreciation for the arts, there is an emotional response for those who engage in these experiences,” said Joel Steinberg, president of Jewish Family Service Agency (JFSA).

Steinberg was offering this observation in the context of a unique opportunity that JFSA has to help 200 clients attend a special concert of music by Jewish composers performed by the Vancouver Symphony Orchestra (VSO) at the Orpheum on Nov. 15.

Michael Fish, who has been a board member for the VSO for four years, wanted to encourage more Jewish community involvement with the symphony.

“In an effort to promote the VSO, as well as bring our community more into the fold, I decided to try to do something special,” Fish told the Independent. “With the support of the VSO’s conductor and musical director, Bramwell Tovey, the VSO agreed to put together a concert of all Jewish composers that I could use as a vehicle for my goal.”

Fish continued, “I then approached Jewish Family Service Agency and asked if they would be interested in sending some of their clients to an evening of Jewish music with the VSO. Knowing that many of their clients would not have the means to purchase a ticket for themselves, I took it upon myself to raise the funds from within the Jewish community to make it happen. I was thrilled at the fantastic response.”

According to Steinberg, Fish has used his advocacy very effectively for JFSA. In addition to organizing this concert, Fish secured a full page in VSO’s Allegro magazine recognizing “Friends of JFSA,” thereby helping JFSA communicate its mission to VSO patrons.

“Many people do not realize that about 10 percent of our clients are non-Jewish,” said Steinberg. “They are mostly users of home support and counseling services, both of which are fee-for-service and help generate critical revenues for our organization to support our other programs. This is a great opportunity for JFSA to raise its profile in the general community while benefitting our clients.”

According to Alan Stamp, JFSA’s director of counseling, the agency sporadically provides “tickets for inclusion” to clients who are in need and who have identified an interest in the arts. The program is managed by JFSA social workers on a case-by-case basis. One of the challenges with the existing system is that tickets are often donated last minute by supporters of JFSA who realize that they will not be able to use them. It can be difficult to match tickets with clients, many of whom face mobility challenges, on short notice. This event with VSO is on a different scale.

Silkie Wong, who works in development and communication at JFSA, has been assisting the department’s director, Audrey Moss, with coordinating the project from the JFSA side. Wong noted that JFSA organizes transportation where possible to ensure that clients can attend, as some of their clients find it difficult to get out on their own. Wong pointed out why this type of event is important: “This is a unique and meaningful experience. Attending cultural events enables our clients to live life, not just survive it.”

Steinberg hopes this avenue for inclusion, initiated by Fish, will spur others to step up and bring such more initiatives forward. “We hope that we will have an ongoing partnership with VSO, and that more of our friends connected to other organizations will help us open more doors and build similar partnerships,” said Steinberg.

Fish considers this is a win-win situation. He is excited about the beautiful music that both JFSA clients and members of the greater community will share, as well as the concert’s potential to raise the profile of VSO in the Jewish community. He summed up by saying, “The musicians will be playing to a larger audience, JFSA’s [clients and] patrons will enjoy a great evening, and perhaps the VSO will pick up a few patrons along the way. What could be better than that?”

To learn more about this concert, visit jfsa.ca.

Michelle Dodek is a freelance writer and community volunteer living in Vancouver.

Format ImagePosted on October 31, 2014October 29, 2014Author Michelle DodekCategories MusicTags Jewish Family Service Agency, JFSA, Joel Steinberg, Michael Fish, Silkie Wong, Vancouver Symphony Orchestra, VSO
Head to Fifth Avenue for VJFF

Head to Fifth Avenue for VJFF

Julie Cohen’s The Sturgeon Queens is informative and delightful.

From the fraught origins of the state of Israel to what a possible peaceful future for Israel might look like, this year’s Vancouver Jewish Film Festival, which runs Nov. 6-13 at Fifth Avenue Cinemas, should inspire even the most cynical. Documentary or narrative feature, there seems to be an underlying theme of hope. And who couldn’t use more of that. Here are reviews of a handful of films that the Jewish Independent was able to preview.

***

Dove’s Cry (Israel) follows Hadeel, a 27-year-old Arab Israeli teacher, over the course of a school year as she teaches Arabic and Arab culture to a group of students at a Jewish Israeli primary school near Tel Aviv.

photo - Hadeel, featured in Dove's Cry
Dove’s Cry follows Hadeel, a 27-year-old Arab Israeli teacher, over the course of a school year.

The film begins with a school-wide celebration of Rosh Hashanah. Hadeel is cheerful, energetic and inspired. Her personality is electric and she connects easily with her students. The children vie for her to call on them in class, they are excited to be learning. Her Jewish co-workers seem to respect and admire her.

About a third of the way through the documentary though, a tearful Hadeel tries to process the racist outburst of one of her students, who calls her a “stinking Arab” after a disciplinary incident. Speaking to her family, Hadeel admits that this is the first time she’s experienced such overt racism in five years of teaching. Her shock and disappointment are palpable.

More significant, perhaps, are the casual, daily prejudices that Hadeel experiences, most often from her co-workers, the school’s administration and parents. And, however open the children, they know very little about Arabic, Islam, Christianity or Arab culture, and freely express their apprehension about Arabs, Arab neighborhoods and their fears around terrorism. Hadeel is patient, authoritative, good-humored and kind throughout. During a drill, a teacher asks Hadeel if she has a bomb shelter in her community; Hadeel reminds her that, of course, she does, that she is an Israeli, and faces the same physical threats.

There are stark reminders everywhere that Hadeel is creating a bubble of tolerance in her classroom and, perhaps, at the school, but not beyond that. “In the classroom, I teach one thing and, at home, they teach the opposite,” Hadeel laments. One of the central relationships in the film is with the principal, who reminds Hadeel of the limits of her program and often sides with the parents.

By the time Yom Hashoah, Yom Hazikaron and Yom Ha’atzmaut arrive, Hadeel expresses how torn she is about her position in the school and, by extension, in Israeli society. “Suddenly, I feel like I don’t belong to the place where I was born,” she explains.

Ganit Ilouz’s documentary is a sobering look at the strictures and complexities faced by Israel’s minority citizens. It is a potent reminder at how much better Israelis would be served if all citizens were conversant in Hebrew and Arabic and knew some basic facts about each other’s culture and customs. It’s something Jewish Diaspora communities should consider, as well. Hadeel’s name means “dove’s cry,” a fitting name for a woman tireless and steadfast in her pursuit of a better Israel.

– BL

***

At the centre of Hanna’s Journey (Germany/Israel) is Hanna, a smart, driven woman. We first meet her in a waiting room with several other candidates for a job. As one exits her interview, obviously disappointed, Hanna follows her into the bathroom to find out what type of employee the company is seeking. When she finds out that grades alone won’t be enough, that the company wants someone who’s also dug wells in Africa or is an “eco-freak,” she lets down her hair, removes her lipstick and earrings, and undoes the top button of her blouse. When one of the interviewers notes, “this resumé doesn’t wow me with its diversity,” Hanna lies to them, saying that she only just received her acceptance to go work in Israel with people who have mental disabilities. If she provides them with proof, she has a great chance at getting the job.

photo - the characters of Hanna and Itay in Hanna's Journey
At the centre of Hanna’s Journey is Hanna, a smart, driven woman. Here she is seen with Itay – someone to love or hate?

Problem: Hanna’s mother, who runs a social-service nonprofit that sends young Germans to Israel, won’t fake the letter. Solution: Hanna actually goes to Israel, both to work at a village for those with mental disabilities, and also to spend time with a Holocaust survivor.

“In Hanna’s Journey, I’m attending the question [of the] impact the Holocaust has for Israelis and Germans of the third generation, how the shared past is affecting our lives up to today and inseparably connects us,” writes Julia von Heinz in her director’s statement. “The mixture of fascination and disgust which forms the German-Israeli relations, the neurotic, gets symbolized by my film’s complicated love story.”

In the film, Hanna leaves behind her businessman boyfriend Alex. Their relationship seems solid. Certainly no one in the nonprofit’s house where Hanna is billeted will threaten it, as Carsten is gay and Maja is not only unfriendly, but a full-on antisemite. However, Itay, the social worker at the village is another story. The antithesis of Alex, he is not so fond of Germans, at least at first.

During her time in Israel, Hanna discovers much about herself and her family, in particular, her mother, with whom she doesn’t get along. It turns out that the survivor who Hanna visits knew her mother.

Billed as a romantic comedy, Hanna’s Journey is more contemplative than funny and even the romance part is questionable. It’s really a drama, touching on many important topics and allowing various complexities to remain unresolved. The acting is strong, the script is compelling, and it’s a movie that should be taken seriously.

– CR

***

Even if you’ve read Russ & Daughters: Reflections and Recipes from the House that Herring Built by Mark Russ Federman (click here for the review in the JI), Julie Cohen’s The Sturgeon Queens (United States) is informative and delightful. For whatever reason, the story of Russ & Daughters never fails to captivate.

photo - Niki Russ Federman and Josh Russ Tupper
Niki Russ Federman and Josh Russ Tupper are the fourth generation of the family to run Russ & Daughters. The family’s business story is told in The Sturgeon Queens.

Joel Russ came to New York from Germany in 1907. He joined his older sister and started working right away to contribute to the family income. He married Bella in 1908 and, in 1913, the first of their three daughters – Hattie, Anne and Ida – was born. In 1914, he opened his first store, on Orchard Street. In 1920, he moved it to Houston Street and there it has remained, joined in 2014 by a new family restaurant, Russ & Daughters Café, located on, appropriately enough, Orchard Street.

Cohen’s documentary came out during the store’s centennial year and it features interviews with the two surviving “sturgeon queens,” Hattie Russ Gold, then 100, and her sister Anne Russ Federman, then 92. Mark Russ Federman, who ran the store from the 1970s until 2008, and his daughter Niki Russ Federman and nephew Josh Russ Tupper, who now run the store, are interviewed, and longtime employee Herman Vargas is also featured.

Other interviewees include Ruth Bader Ginsburg, Morley Safer and Maggie Gyllenhaal, as well as chef Mario Batali, as an example of how the customer base has expanded beyond the Jewish community, and writer Calvin Trillin, who’s written stories inspired by Russ & Daughters and wrote the foreword to the book Russ & Daughters. Narration is provided by a table-full of longtime (from one since 1929 to one since 1976) customers, with other historical and family and business information provided by the family interviewees. The use of animation, music, archival photos and film clips all add to the quality of the documentary and the credits are especially cute: they indicate when the film’s major makers’ families each came to America from a wide range of places around the world.

– CR

***

The Jewish Cardinal (France) by Ilan Duran Cohen is based on the true story of Jean-Marie Lustiger, born Aaron Lustiger, a Polish Jew who converted to Catholicism at age 14, during the Holocaust. When we meet him in 1979, he is a vicar in Paris who is being promoted to bishop of the city of Orléans – the location of his conversion and where he was hidden during the war.

photo - scene from The Jewish Cardinal
The Jewish Cardinal by Ilan Duran Cohen is based on the true story of Jean-Marie Lustiger.

A temperamental and intense man, Lustiger causes a stir when he tells a reporter that he remains a Jew, he is Jewish and Christian, “like Jesus,” he says defiantly. He is “convinced that God has willed” his nomination. “I am a provocation that compels reflection on Christ,” he says, without a hint of irony.

The more we learn about Lustiger, played by a magnificent Laurent Lucas, the better we understand his fervor to reconcile his identities and make peace with his few remaining family members, including his father.

Lustiger has advocates in the Church, but also detractors. Though Pope John Paul II is a robust supporter and promotes Lustiger to archbishop of Paris and then, finally, to cardinal and trusted papal advisor, there remains a tension between the two men. (There are several wonderful scenes of Lustiger’s audiences with the Pope, who is deftly – at times, sinisterly – played by Aurélien Recoing.) Lustiger’s relations with the Jewish community are strained and we see Lustiger harassed by antisemites who accuse him of defiling the Church.

After a group of Polish Carmelite nuns establishes a convent at Auschwitz (not incidentally the site of Lustiger’s mother’s murder), he is asked by the Jewish community and the Pope to negotiate a solution. Many viewers above age 35 will remember the convent and the turmoil it caused for nearly a decade until it was removed in 1993. The film captures the politics and nuances of the incident with terrific results.

Throughout, we sense Lustiger’s confusion over how to balance on the edge of Jewish-Catholic relations, once he loses some of his hubris, that is. On a visit to Auschwitz, he can neither say the Lord’s Prayer nor Kaddish for his mother; when his father passes away, he’s distraught, unable to fulfil his promise to say Kaddish.

Lustiger died in 2007 of lung and bone cancer. Kaddish was recited at his funeral outside the entrance to the Notre Dame Cathedral in Paris.

– BL

***

photo - a still from Under the Same Sun
Israeli Shaul Cohen and Palestinian Nizar Ahmad cooperate in a joint business venture in Under the Same Sun.

For the dreamers of the world, there is Under the Same Sun (United States/Israel/Palestine), written by Yossi Aviram and directed by Sameh Zoabi. The film starts in a mockumentary style, with all hell breaking loose. The media has discovered that Israeli Shaul Cohen and Palestinian Nizar Ahmad are cooperating in a joint business venture to bring solar energy to West Bank villages, and all the talking heads have their opinions about it.

The film then jumps back a year to a meeting in Marseilles, where Shaul approaches Nizar about the project. From this point to near the end, it’s a regular movie, progressing linearly through time, from the project’s genesis, the difficult search for investors, the effects of the venture on their respective families. Skepticism, anger and obstacles must be overcome. We learn more about each man as each confronts their own prejudices and fears. And all looks lost until Nizar comes up with the idea of using a Facebook campaign to create a groundswell of public opinion that will force political leaders to make peace – and, hence, let their energy project proceed. If only social media were so powerful.

Under the Same Sun is crazily optimistic. With solid acting all round, good pacing (helped by Hilal Zaher’s score) and well-written dialogue, it is a thoroughly enjoyable way to conclude a film festival.

– CR

For showtimes and the full festival schedule, visit vjff.org.

Format ImagePosted on October 31, 2014October 29, 2014Author Basya Laye and Cynthia RamsayCategories TV & FilmTags Dove’s Cry, Ganit Ilouz, Hanna’s Journey, Ilan Duran Cohen, Jewish Cardinal, Julia von Heinz, Julie Cohen, Sameh Zoabi, Sturgeon Queens, Under the Same Sun, Vancouver Jewish Film Festival, VJFF, Yossi Aviram
L-E-V: Part of the changing world

L-E-V: Part of the changing world

Israel’s L-E-V is at the Playhouse Nov. 14-15. (photo by Gadi Dagon)

It feels like it’s all been leading up to this. In 2009, Israel’s Batsheva Dance Company performed at DanceHouse. In 2013, Norway’s Carte Blanche brought Corps de Walk, a work commissioned from former Batsheva dancer and choreographer Sharon Eyal and her partner Gai Behar, to DanceHouse. And, in two weeks, Eyal and Behar’s own troupe, L-E-V, will be at DanceHouse to perform House, a piece originally imagined for Batsheva.

The multiple-award-winning Eyal danced with Batsheva from 1990 until 2008, served as its associate artistic director from 2003-2004 and as house choreographer from 2005-2012. She began choreographing works for other companies in 2009, including Killer Pig (2009) and Corps de Walk (2011) for Carte Blanche. Eyal and Behar launched L-E-V in 2013, with musician, drummer and DJ Ori Lichtik an integral part of the creative team.

“I first saw the work of Sharon Eyal and Gai Behar in 2011 at Jacob’s Pillow Dance Festival [in Becket, Mass.], and it was unlike anything else I have seen before – and I have seen a lot of dance,” said Jim Smith, producer at DanceHouse, in an interview with the Independent.

“When L-E-V had its U.S. debut, the New York Times referred to House as ‘a Hieronymous Bosch painting of an extraterrestrial rave.’ Visually, you can see these two very contrasting images at play together.

“I think the work being created by Sharon Eyal and Gai Behar is very much of our time, as they appear to represent a cross-disciplinary confluence of movement, music, lighting, fashion, art and technology. And this very much appears to be part of the changing world around us.”

DanceHouse, which has “has taken on presenting larger scale dance works (i.e. larger number of performers and/or work requiring a significant level of technical support) that are recognized to be touring internationally,” presents “a mix of both Canadian and international companies and artists,” said Smith. “We are part of a larger national dance touring network that includes such organizations as Danse Danse in Montreal, the National Arts Centre in Ottawa and Harborfront in Toronto.”

Before its arrival in Vancouver on this fall tour, L-E-V will have performed House in Mexico (Guanajuato, Mérida and León), Calgary and Ottawa. After Vancouver, it heads to Los Angeles.

The blurb on the DanceHouse website reads: “With a sensibility seen here in 2013’s Corps de Walk, House’s fiercely talented dancers move with expressive precision as they explore what a house truly is: a home, a club, an asylum, a way station.”

House was first commissioned by the Batsheva Dance Company in 2011. It has developed since then.

“Changes always happen in the piece; it can only be an eye, movement or breathing, but there will always be more layers and renewals,” Eyal told the Independent. “The work is dynamic and alive, so is the music. You can always grow and add a new dimension, it is our fun. It’s not like in a museum – the ones who make it are people and each moment they feel something new.”

A combination of “a lot of talent” and “exhausting work alongside endless happiness,” L-E-V is seeing success. “The company is currently touring many places in the world and receives recognition and a lot of love,” said Eyal.

“In terms of the dancers, we began with eight dancers and reduced it to six. Now we have become more exact and effective. The dancers are wonderful and do not cease to amaze, develop and become more sophisticated. Each one of them is a different star in heaven.”

“The opportunity to present the work of Eyal with her own company of dancers is a way of giving a great range of exposure to her for Vancouver audiences,” said Smith. “She is of a generation and stage of development in her career as such dance artists as Barak Marshall, Wayne McGregor, Benjamin Millepied, Hofesh Shechter, and even Vancouver’s own Crystal Pite, all of whom are making big waves in the international world of dance, and all of whom have been presented on the DanceHouse stage in the past.

“In a relatively short time since leaving Batsheva, Eyal has enjoyed a meteoric rise both as a choreographer for hire and also with her new company of dancers, many of whom are ex-Batsheva dancers. In 2013, Eyal’s company made its North American debut [with House] at Jacob’s Pillow and this past summer was programmed at the prestigious Montpellier Danse festival in France.”

DanceHouse generally presents four productions a season at the Vancouver Playhouse and one in partnership with other presenters at the Fei and Milton Wong Experimental Theatre at Simon Fraser University, explained Smith.

“DanceHouse aims to reflect the range and diversity of the different stylistic approaches being seen in the development of dance as an art form. In many ways, we think about DanceHouse as providing a window on the international world of dance – with dance being a reflection on the world we live – like other art forms.”

House is at the Vancouver Playhouse Nov. 14 and 15, 8 p.m., with a pre-show talk at 7:15 p.m. For more information and tickets, as well as information on other DanceHouse offerings, visit dancehouse.ca.

Format ImagePosted on October 31, 2014October 29, 2014Author Cynthia RamsayCategories Performing ArtsTags DanceHouse, Jim Smith, L-E-V, Sharon Eyal
Live doc portrays famous idealist

Live doc portrays famous idealist

Buckminster Fuller in front of the Montreal World’s Fair geodesic dome. (photo from Magnum Photos)

Most of us know Richard Buckminster Fuller as “the dome guy” or, more formally, as the 20th-century genius whose life and vision eventually led to the creation of that most unusual architectural form, the geodesic dome. His early architectural designs, set in the 1970s, would go on to win him worldwide acclaim as an early pioneer in environmental stewardship.

Although it’s no surprise in a city that has always lauded ingenuity, that vision would eventually help remake both Vancouver’s skyline and our concept of enduring, smart, contemporary architecture. But what many 21st-century Vancouverites may not know is that Bucky – as he was equally affectionately called by friends and even strangers – was much more than an architect and a futuristic designer. He was a utopist, a scientist, an idealist, a linguist and probably one of the world’s earliest pioneers in sustainable living.

photo - Sam Green
Sam Green (photo by Joanna Eldredge Morrissey)

In fact, he was more than that, says filmmaker Sam Green. Green, who received an Academy Award nomination for his documentary on the Weather Underground in 2003, will be presenting his live documentary of Fuller’s life and accomplishments, The Love Song of R. Buckminster Fuller, at the Vogue Theatre on Nov. 12. Green spent several years pouring through the archives of Bucky’s famous Dymaxion Chronofile to compile this synthesis of the futurist’s life, a legacy that is euphemistically reflected in the title of the film.

Fuller, Green said, “spent almost every waking moment trying to make the world a better place,” a vision that was reflective of the immense affection he carried for the world around him. “There was something about him that struck me as very loving about his enormous amount of energy he put into his projects.”

It’s vigor that seems incredibly relevant to today’s sustainability movement, and our increasing focus on climate change. “I was very struck by the fact that he had these conflicting set[s] of messages,” said Green. “His whole life, or the entire 50 years he spent working on this project [what Green sums up simply as his effort to make the world a better place] are more relevant now than they have ever been.” Doing more with less, smart design, harnessing our resources, “and at the core of all of that is this idea that we have all the resources now to make a high standard of living for everybody on the planet.” It was a viewpoint that not only reflected his unbridled idealism, but his intuitive understanding of the precarious balance of life on what he referred to as “spaceship earth.”

“He was a great poet,” said Green. Fuller instinctually understood the power of allusion. “[He] definitely had a fantastic way with words. A lot of his books have just the most wonderful titles.” Poems with names like “God is a Verb,” whose title might have seemed irreverent at the time, captured the drive of a nascent environmental movement. The name of early work An Operating Manual for Spaceship Earth “would have been a cool title in 1975,” said Green. The treatise clearly showed he was ahead of his time when it was first published as a scientific paper in 1967, and it took readers by storm when it was published as a book a year later. His poems, literary works and uncanny insights into human nature have stood just as much the test of time as his many inventions and forays into architectural design.

Green’s live documentary is an exploration into form and allusion in itself. While this isn’t the first time that the filmmaker has combined live narrative with a pre-recorded film to tell a compelling story, the unorthodox format he uses seems to lend itself to the tale of a man who was clearly not afraid to step outside of the bounds of convention. Green’s personal narration, combined with the live accompaniment by American indie rock band Yo La Tengo, seems to resonate with viewers who, like Green, seek the intimate experience of that old pre-digital-age theatre production.

“One of the reasons I like this form is it keeps the experience in the realm of a kind of cinematic context,” Green explained. “You come to the theatre – we’re going to travel all the way from New York – you’ll buy a ticket and come to the theatre. Everybody will turn their phones off [and] we’ll all experience this piece together. It’ll never be the same way twice, and there is something just wonderful and magic about that.”

For Green, who identifies himself as “culturally Jewish,” Fuller’s story resonates with an element that he finds drives much of his cinematic work: “a kind of yearning quality to it,” he said, “a combination of idealism and yearning, and a little bit of heartbreak that I think is very Jewish.”

It’s the same essence he said that drew him to Yo La Tengo’s emotive work. “I very much wanted to work with them because they had the sound that expresses that. Their sound is beautiful. They make beautiful songs with a little bit of yearning and melancholy to them. And that kind of emotional palate to me is very Jewish.”

Green’s earlier cinematic work includes Utopia in Four Movements, which was featured at the San Francisco Jewish Film Festival in 2010; The Weather Underground (2003), which premièred at the Sundance Film Festival and was nominated for an Academy Award; and Rainbow Man/John 3:16 (1997), detailing the tragic story of unusual sports fan Rockin’ Rollen Stewart. His most recent live documentary, The Measure of All Things (2014) about the Guinness Book of World Records, has also been featured at the Sundance Festival.

But, to be sure, The Love Song of R. Buckminster Fuller isn’t just about an American idealist who helped broaden global viewpoints. The Vancouver première, said Green, is also about Vancouver’s intimate relationship with Bucky and the vision he helped create when he visited the city in 1976.

“There are some great Buckminster Fuller connections to Vancouver,” Green acknowledged, noting that Fuller was a frequent visitor to the city that would eventually lay claim to a geodesic dome of its own – today’s Telus World of Science (better known as Science World), one of this city’s most enduring symbols.

The Love Song of R. Buckminster Fuller will be presented by the PuSh International Performing Arts Festival Nov. 12, 8 p.m., at Vogue Theatre. Tickets, $30.50, can be purchased at voguetheatre.com or by calling Northern Tickets at 1-855-551-9747.

Jan Lee’s articles have been published in B’nai B’rith Magazine, thedailyrabbi.com and Voices of Conservative and Masorti Judaism. She also writes on sustainable business practices for TriplePundit.com. Her blog can be found at multiculturaljew.polestarpassages.com.

Format ImagePosted on October 31, 2014October 29, 2014Author Jan LeeCategories Performing ArtsTags Buckminster Fuller, PuSh International Performing Arts Festival, Sam Green
Facts: A well-crafted crafted play

Facts: A well-crafted crafted play

Left to right, Jerry Wasserman, James Gill and Mehdi Darvish star in United Players’ production of Facts. (photo by Doug Williams)

United Players is set to present Canadian Jewish playwright Arthur Milner’s provocative political drama Facts, loosely based on the true story of the 1992 murder of an American archeologist in the West Bank and the joint Israeli/Palestinian police investigation that followed.

The play has been produced in Ontario and the United Kingdom and was translated into Arabic for a tour of various West Bank cities in 2012. The United Players’ production marks the play’s Western Canadian première, with Jerry Wasserman as Yossi, the hot-headed Israeli detective; Mehdi Darvish as Khalid, Yossi’s Palestinian counterpart; and James Gill as Danny, the fervent settler accused of the murder. Adam Henderson helms this production as it navigates its way through some rough waters, exploring not only the Israeli-Palestinian conflict but also the religious-secular divide between Jews within Israel. The action takes place in a cramped, hot interrogation room in the West Bank and, as the story unfolds, it is revealed that the archeologist was unearthing facts that brought into question some accepted historical beliefs fundamental to Judaism.

The Jewish Independent sat down with Wasserman, Henderson and Darvish one morning before a rehearsal.

Wasserman – who is also a theatre critic and head of the theatre and film department at the University of British Columbia – described himself as an American Jew brought up by liberal Jewish thinkers. He said his research and immersion into this play angered him, but made him see the Middle East conflict in a new light. “This play really presses a lot of emotional buttons for me,” he said. “It digs down through layers into very specific details of [the] lives of people and, through this complexity, we see things more clearly.”

As to his character, Wasserman said, “Yossi’s father was a Zionist who had a dream of a state which has been compromised by the new wave of radical settlers who he sees as having a medieval way of thinking…. This has changed the state of Israel that Yossi loves. The real conflict in this story is not between Yossi and Khalid, but between Yossi and Danny.

“Because Yossi operates at a high emotional temperature, I had to find the proper rhythms and the right places to come up and go down so that I did not peak too early. There were many challenges, but it was infinitely fascinating. You don’t get too many chances to play a role like this.”

The heart of the story is the investigation, as the two detectives sift through various pieces of evidence and theories on the murder.

“I have acted in over 100 police dramas, both television and cinema, and I have to say that this, by far, is the most complex, sophisticated and confusing ones I have ever been involved in,” said Wasserman. “The research has been very detailed and the play is very accurate, re: police investigation and techniques. It is a tremendous intellectual puzzle. The evidence is circumstantial and we never find the smoking gun. The dialogue is an emotional mine field that we, as actors, all have to move through.”

Police dramas often feature a good cop/bad cop relationship. As to whether or not audiences will get to see that dynamic, Wasserman said, “Yossi tries to act the good cop but he is the bad cop by nature. He has lots of emotional buttons to press. The great thing about this play is that everyone’s buttons get pressed. Everyone has a turn to make impassioned monologues and everyone gets to lay his emotional/political cards on the table.”

Gill finds his role of Danny an interesting challenge. “While so much of his absolutist approach to his faith and his politics is antithetical to my own liberalism, nonetheless, being a Jew gives me an empathy for where his faith and politics are grounded,” he said in an email. “That gives me a starting point from which I can start to encompass the character.”

He sees the essence of the play as “the way in which these three men both conform to and transcend their stereotypes. We start with the ‘facts’ of an Israeli, a Palestinian and a settler and, on one level, each of these men is true to those simplistic profiles, but we discover that each of them is much more complicated.”

For Darvish, his involvement in the play also gave him new insights into the conflict. “I came to understand the Israeli position from an emotional perspective better as a result of working on this play,” he said, “but I also see more deeply the Palestinian position. I see the characters often acting like children throwing tantrums instead of sitting down and logically dealing with the situation. It saddens me because right now I do not see a resolution to the dilemma.”

Henderson said he enjoys working with a small cast and a modern-day setting, which contains no idiosyncrasies as to period or language. With an all-male cast, the action is testosterone driven and reflective of the politics of the Middle East, he said.

Henderson expressed surprise that more Canadians do not know about Milner, whose work he has come to appreciate more during the course of his research and preparation for this production.

“Milner has taken a very sensitive subject and effected meticulous research to create a platform to encourage serious dialogue,” he said. “His position is Socratic – he wants to encourage discussion versus making a point and this is brought home by his equivocal ending.”

Henderson acknowledged that the play is likely to be controversial but stressed that, “the key to theatre is that it is a thought experiment where we can do dangerous things with no consequences except people might have their perspectives broadened. If that is what happens in this play, then we will have accomplished something.”

He added, “As the news media move toward ‘infotainment,’ and the sound bites become faster and shallower, the longer form of theatre allows us to look a little deeper at things. For me, it is critical to protect ourselves from merely having our prejudices reinforced. Theatre was invented as a public forum, and we need to gather, to discuss, now more than ever.”

As to why Vancouverites should see the play, Henderson said, “It is an unusually well-crafted play. It is funny, witty, challenging and surprising, and you won’t find anything like it on television. Also, this is a great opportunity to dress up, go out and mingle with community and exercise the soul. Parking is easy and you come out after the show by the beautiful Jericho Beach with something new to talk about.”

Facts is at Jericho Arts Centre from Nov. 7-30. As an added feature, there will be a reading of Masada, Milner’s companion piece to Facts, after every Friday performance. Milner will be in Vancouver the week of Nov. 11 and will be attending performances during that time. For tickets and more information, visit unitedplayers.com.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

Format ImagePosted on October 31, 2014November 6, 2014Author Tova KornfeldCategories Performing ArtsTags Arthur Milner, Israel, James Gill, Jerry Wasserman, Mehdi Darvish, Palestinians, United Players, Zionism
Spielberg opens film festival

Spielberg opens film festival

Roberta Grossman (director), left, and Nancy Spielberg (producer) on the Duxford set of Above and Beyond. (photo from playmountproductions.com)

On Nov. 6, the 26th annual Vancouver Jewish Film Festival begins with the Canadian première of Above and Beyond, about a mainly American group of pilots, veterans of the Second World War, who fought for Israel in 1948. As part of Machal (foreign volunteers), “this ragtag band of brothers not only turned the tide of the war, preventing the possible annihilation of Israel at the very moment of its birth, they also laid the groundwork for the Israeli Air Force.”

Directed by Roberta Grossman, the 96-minute documentary was produced by Nancy Spielberg, who will be in Vancouver for the screening. Spielberg took the time to speak with the Independent via email in anticipation of her visit.

JI: What was it about the Machalniks’ experiences, in particular those of the air force pilots, that you found so compelling that you not only wanted to make a documentary but are following up Above and Beyond with a feature film version?

NS: First of all, we focused on pilots because, frankly, pilots are a lot sexier than infantry! There’s a romantic, tough, swagger, daring, live-on-the-edge, sweep-you-off-your-feet personality that felt bigger than life. I was so curious why these WWII pilots survived their tour of duty for the good ol’ US of A and then turned around and risked their lives for another country, and I was surprised that most of them were not at all Zionistic.

What drives a person to risk everything to save another person in need? Would I do that? Would you? Do we still do that as Americans? Is it part of that generation? Is it part of the American psyche? I was intrigued by their motivation and then I was swept off my feet by their charm and their chutzpah! The “adventures” that took place along the way and during their time in Israel make for great storytelling.

JI: What will a feature film be able to communicate that the documentary could not, or did not?

NS: I do hope that a feature film (dramatization) will communicate the same messages that we hope the doc does – how far does one go to help a brother in need? With a dramatization, we have more freedom to embellish the pilots’ stories and capers that we may have had to reduce in the doc or discard altogether. There are so many details and wild antics that could not be included in the doc but we’d love to explore in the dramatization.

JI: Near the end of Above and Beyond, you ask Coleman Goldstein whether he thought Israel would survive in tough times. What prompted the question and what was your reaction to his response, that, yes, it would survive, as “Israel’s an article of faith”? What is your answer to the question, and is it different now than it would have been when you asked it, given the most recent Israel-Hamas conflict (and the antisemitism it exposed) and as the U.S.-led fight against IS continues?

NS: We asked every pilot we interviewed whether he thought Israel had a fighting chance, or whether he thought he might not make it out alive. George Lichter said, “I thought we would lose….” We were surprised at Coleman’s answer because he was a very pragmatic, matter-of-fact gentleman, and he responded from his heart, as many of the pilots we interviewed did. Maybe they’ve become “softies” in their golden years, but there was a lot of emotion in our interviews.

My personal answer is that I am a spiritual person, and I agree with Coleman and Prime Minister David Ben-Gurion who, in 1956, said, “In Israel, in order to be a realist you must believe in miracles.” I need to hold on to that thought and belief in spite of the latest Israel-Hamas war and the antisemitism that has, once again, reared its ugly head.

JI: How does Israel and Judaism or Jewish culture fit into your life, and what would you tell North American Jewish youth today who, if polling is any indication, aren’t as connected to the Jewish state or Jewish practice as previous generations?

NS: I grew up in Phoenix, Ariz., where our family was the only Jewish family in the neighborhood (who didn’t always take too kindly to us). We were three-times-a-year Jews – Pesach, Yom Kippur and Chanukah. Outside of that, we were gastronomical Jews with a love for Yiddish and Russian melodies.

When I was in fifth grade, I started to go to a Jewish day school, which prompted me to come home and tell my mom that we needed to start keeping kosher so that I could have school friends over for play dates. Slowly, we evolved into kosher and Sabbath observance. When I was 19, I decided to leave UCLA and spend time on a kibbutz in Israel with my sister. That was it! I fell head over heels. I found a home that I didn’t know I was even missing. From that time on, I’ve been involved in Israel, Judaism and Jewish culture. My children went to Jewish schools and Jewish camps. In fact, my 26-year-old, Jessy Katz, has been living in Israel for two years. When I say to her, “I miss you, come home!” She says, “I am home.”

One of my main motivations in making this film is to reach out to the North American Jewish youth who feel very disconnected in the hopes that this film will be a much-needed shot in the arm of Jewish pride. I’m hoping that they will find a connection and take a fresh look at Israel and how it plays an integral part in being a Jew.

Above and Beyond screens at Fifth Avenue Cinemas on Nov. 6, 7 p.m. For more information about the film, visit playmountproductions.com. For the full schedule and tickets for this year’s Vancouver Jewish Film Festival, which runs Nov. 6-13, visit vjff.org.

Format ImagePosted on October 24, 2014October 23, 2014Author Cynthia RamsayCategories TV & FilmTags Above and Beyond, Israeli Air Force, Machal, Nancy Spielberg, Roberta Grossman, Vancouver Jewish Film Festival, VJFF, War of Independence
Maya Tenzer joins Ballet BC’s 29th

Maya Tenzer joins Ballet BC’s 29th

Maya Tenzer joins Ballet BC for its 2014/15 season. (photo by Michael Slobodian)

Earlier this year, Ballet BC welcomed five new company members, bringing the total to 14, and four new apprentices. Now part of this intimate group is Maya Tenzer, who has joined the company as an apprentice for its 29th season, which begins Nov. 6 with No. 29.

No. 29 features the world première of White Act by Fernando Hernando Magadan, the Ballet BC première of An Instant by Lesley Telford and the reprisal of A.U.R.A. by Jacopo Godani.

“With this program, we will have commissioned 29 new works over the past five years by dance makers from around the world,” said Emily Molnar, Ballet BC artistic director, in a press release. “No. 29 is an evening that will showcase a dynamic and versatile range of dance while offering an engaging experience for audiences. It will grab you, excite you and challenge your ideas of ballet.”

Tenzer, 20, should fit in well with Ballet BC, which prides itself on being “grounded in the rigor and artistry of classical ballet, with an emphasis on innovation and the immediacy of the 21st century.” She joins the company from Arts Umbrella, with whom she studied and worked – with countless choreographers – from age 10.

“I was led to Arts Umbrella through a friend who did the summer intensive there and loved it,” Tenzer told the Independent. “I had begun to dance one year before in Paris, France, where my family had been living for the year. I started out taking one class a week, but I knew the following year I wanted to be doing more. In the many years to come of my training at Arts Umbrella, the school became my home and provided me with invaluable training. At Arts Umbrella, I was given the tools to joy and success in dance and in the world.”

She also trained at the San Francisco Conservatory of Dance. In a four-week summer intensive, she said, “I danced six days a week with demanding classes and a high level of commitment always demanded. The training there was vital to me. I was exposed to Gaga (a movement language created by Ohad Naharin, the director of Batsheva Dance Company in Tel Aviv) and all the studios there have no mirrors, so I learned to love the freedom of not having the mirror as a distraction while dancing. I felt my individuality and ownership as a dancer take off while there.”

Locally, Tenzer apprenticed, in 2013, with choreographer Justine A. Chambers in the creation of Sphinx, “a solo created in collaboration with contemporary gamelan composer, Michael Tenzer,” according to Chambers’ website.

“For that project, being an apprentice meant acting as a body Justine could look at her movement on,” Tenzer told the JI. “It sometimes meant developing movement with her, and it was above all an amazing opportunity to work alongside Justine, who is an intelligent and generous artist.

“Also, Michael Tenzer is my father! Both my parents are music teachers – my dad at UBC and my mom at Suncrest Elementary School in Burnaby. The creative arts have always been an irreplaceable part of my daily life.”

As has Judaism, “in bringing together … family in a special way. I was never strongly religious but I love the bonds that the traditions of Judaism have made for me,” she said.

On the international front, Tenzer has toured with Arts Umbrella Dance Company, an experience she described as “a joy.”

“I thrive on the relentless schedule and the new experiences,” she said. “Last year, we spent one week in Holland and one week in Italy, taking workshops, rehearsing with NDT (Netherlands Dance Theatre), and preparing our own show. Being tired was a constant but, often, being at your end can be a catalyst for the best kinds of change and improvement.”

And that brings us back to Ballet BC. “Being an apprentice means I have the same schedule and opportunities to work with the incredible people that come to Ballet BC, but that often I will be an understudy for a piece instead of dancing in the first cast,” she explained. “This gives me a chance to learn from the artists of Ballet BC as they work to create the powerful art we see onstage.”

Tenzer spoke of dance as allowing her to connect body and mind. “To practise aligning the two daily, as my job, is a gift and an inspiration,” she said. “The environment at Ballet BC is supportive of being vulnerable and taking risks in order to enter new territory, and this is exciting and a privilege to be a part of.”

No. 29 is at the Queen Elizabeth Theatre Nov. 6-8, 8 p.m. Tickets range from $30 to $80 (including service charges) and can be purchased from Ticketmaster at 1-855-985-2787 or ticketmaster.ca.

Format ImagePosted on October 24, 2014October 23, 2014Author Cynthia RamsayCategories Performing ArtsTags Arts Umbrella, Ballet BC, Emily Molnar, Maya Tenzer

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