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Category: Arts & Culture

Ari Shavit’s My Promised Land is a vivid look at Zionism

In collaboration with the Isaac Waldman Jewish Public Library, the Jewish Independent will be reprinting a series of book reviews by Robert Matas, formerly with the Globe and Mail. He has chosen My Promised Land: The Triumph and Tragedy of Israel (Speigel & Grau, New York) by Haaretz journalist Ari Shavit as the first in the series. My Promised Land has been listed as number one on the Economist’s best books of 2013, is a winner of a National Jewish Book Award and is included on the New York Times’ list of 100 notable books of 2013.

Israel is an incredibly strong country. Its high-tech start-ups spur economic growth while most of the world is trying to sidestep a financial meltdown. Its democratic institutions remain vibrant, while its neighbors disintegrate. Its military, backed up by nuclear power, effectively has stopped any attack on the state over several decades despite virulent opposition to its existence.

image - My Promised Land cover
My Promised Land offers a fascinating window into the country at a crucial time in Israel’s history.

Yet the fault lines in Israeli society steadily widen. Internal divisions that threaten the country spread out in all directions. The rumblings of unrest are becoming louder and more frequent, from the occupied territories, the Arab Israeli communities, the ultra-Orthodox enclaves and the non-Ashkenazi underclass.

Ari Shavit, in My Promised Land: The Triumph and Tragedy of Israel, offers a fascinating window into the country at a crucial time in Israel’s history. Based on family diaries, private letters and interviews and discussions with hundreds of Jews and Arabs over a period of five years, Shavit, a leading Israeli journalist and television commentator, has written a book with the potential to change understanding of the seemingly intractable problems confronting Israel.

This book is not for those who believe Israel requires the unquestioning support of Diaspora Jews. With brutal honesty, Shavit describes episodes in Israel’s history that many would like to remain untold, or at least to be discussed only in hushed whispers within the family. But his account of the life stories of numerous people including Aryeh Deri, Yossi Sarid and others who played pivotal roles in the development of the country is essential reading for anyone who is concerned about Israel.

In a nutshell, Shavit concludes that Israel is vulnerable and will remain vulnerable as long as Israeli cities and farms exist where Palestinians once lived. He argues that ending the West Bank occupation will make Israel stronger and is the right thing to do, but evacuating the settlements will not bring peace. The crux of the matter is that all Palestinians who were expelled – not just those in the West Bank – want to return home and will settle for nothing less.

He is pessimistic about the future. Israel can defend itself now, but he anticipates eventually the hand holding the sword must loosen its grip. Eventually, the sword will rust.

“I have learned that there are no simple answers in the Middle East and no quick fix solutions to the Israeli Palestinian conflict. I have realized that the Israeli condition is extremely complex, perhaps even tragic.”

Despite his critical eye on events of the past century, it is difficult to label Shavit’s politics. He was an active member of Peace Now and a vocal critic of the settler movement. But he praises Prime Minister Binyamin Netanyahu for confronting Iran. “I have learned that there are no simple answers in the Middle East and no quick fix solutions to the Israeli Palestinian conflict,” he writes. “I have realized that the Israeli condition is extremely complex, perhaps even tragic.”

***

Shavit explores 120 years of Zionism through vividly written profiles of numerous people beginning with his great-grandfather, Herbert Bentwich, who came to Jaffa on April 15, 1897, on a 12-day trek to explore the land as a home for the Jews. At that time, Palestine was part of the Ottoman Empire, populated mostly by Bedouin nomads and Palestinians serfs with no property rights, no self-rule or national identity.

“It’s quite understandable that one would see the land as a no-man’s land,” Shavit writes. Bentwich would have to turn back if he saw the land as occupied, Shavit adds. “But my great-grandfather cannot turn back. So that he can carry on, my great-grandfather chooses not to see.”

Israel was settled and continues to be populated by people who do not see others who are right in front of them. The early Zionists bought land, often from absentee landlords, and ignored those who had worked the land for generations. Herzl’s Zionism rejected the use of force. But as the number of Jews escaping European antisemitism, a new breed of Jew arrived.

Shavit describes how kibbutz socialism, with its sense of justice and legitimacy, displaced indigenous Palestinians. Jews who were godless, homeless and, in many cases parentless, colonized the land with a sense of moral superiority. “By working the land with their bare hands and by living in poverty, and undertaking a daring unprecedented social experiment, they refute any charge that they are about to seize a land that is not theirs.”

Tracing the development of the state, he identifies in painful detail the Palestinian villages that were wiped out and replaced with Jewish settlements. Transferring the Arab population became part of mainstream Zionism thinking during the riots of 1937, as Zionists confronted a rival national movement. David Ben-Gurion at that time endorsed the compulsory transfer of population to clear vast territories.

“I do not see anything immoral in it,” Ben-Gurion said. By the time of the War of Independence in 1947/48, Palestinians who did not leave voluntarily were, as a matter of routine, forcibly expelled from their homes and the buildings demolished.

Shavit delves deeply into the sad history of the Lydda Valley, where Jewish settlements began in idealism but evolved into what Shavit describes as a human catastrophe. “Forty-five years after Zionism came into the valley in the name of the homeless, it sends out of the Lydda Valley a column of homeless.”

In the new state’s first decade, Israel was on steroids, absorbing nearly one million new immigrants, creating 250,000 new jobs and building 400 new Israeli villages, 20 new cities and 200,000 new apartments. The new Israelis had little time for Palestinians, the Jewish Diaspora or even survivors of the Holocaust. As it marched toward the future, Israel tried to erase the past. The miracle was based on denial, Shavit writes.

“The denial is astonishing. The fact that 700,000 human beings have lost their homes and their homeland is simply dismissed.”

“Ten-year-old Israel has expunged Palestine from its memory and soul, as if the other people have never existed, as if they were never driven out,” he writes. “The denial is astonishing. The fact that 700,000 human beings have lost their homes and their homeland is simply dismissed.”

Yet the denial was essential. Without it, the success of Zionism would have been impossible. Similar to his great-grandfather, if Israel had acknowledged what had happened, it would not have survived, he writes.

He recounts how the settlements in the West Bank have changed the course of Zionism. They began as a response to a fear of annihilation but evolved into an aggressive movement to dislocate Palestinians and prevent peace agreements. Shavit is convinced the settlements will eventually lead to another war. The settlements are an untenable demographic, political, moral and judicial reality that harms the entire country, he writes. He believes occupation must cease for Israel’s sake, even if peace with Palestinians cannot be reached.

With similar intensity, Shavit offers insight into the Masada myth of martyrdom and reports on how Israel developed nuclear power. He maintains that nuclear deterrence has given Israel decades of peace. He exposes the cracks in Israeli society with thought-provoking portraits of prominent figures from the ultra-Orthodox and Sephardi communities.

Posted on February 28, 2014April 16, 2014Author Robert MatasCategories BooksTags 100 notable books, Ari Shavit, Diaspora Jews, Haaretz, Herbert Bentwich, Masada myth, My Promised Land, National Jewish Book Award, Peace Now, Theodor Herzl, War of Independence
Waldman Jewish Public Library is building its ebook collection

Waldman Jewish Public Library is building its ebook collection

Shannon McLeod, left, and Rachel Yaroshuk. (photo by Olga Livshin)

Unlike academic and institutional libraries, most small public libraries in North America don’t offer ebooks to their readers. Setting up a digital borrowing system requires hours of research and special computer knowledge. It is an expensive endeavor, too, besides presenting several legal wrinkles. Isaac Waldman Jewish Public Library at the Jewish Community Centre of Greater Vancouver is the first Jewish public library in Canada to do so.

In September 2013, the Waldman Library hired two digital content managers, Rachel Yaroshuk and Shannon McLeod, to organize the library’s digital portal. Both have master’s degrees in library and information studies from the University of British Columbia.

In an interview with the Independent, Yaroshuk and McLeod explained that the project grew out of the endowment to the library from the Sonner family, which was established 10 years ago. Eric Sonner, a Holocaust survivor and a local businessman, initiated the endowment.

McLeod said: “Eric was an avid reader. He established a fund with the Jewish Federation of Greater Vancouver for the benefit of the library. The fund was to sit for 10 years, and the interest would finance the library needs. Eric passed away in 2009. After the 10-year term ended in 2013, Eric’s daughter, Eve, approached the library with the idea to launch a unique Jewish ebook collection at the library, using the principle capital. She thought that such a project would be a fitting way to use the money, as her father liked to be cutting edge in his thinking and actions. He also had a strong commitment to the Jewish community and highly valued the library’s contribution.”

Of course, the library embraced the Sonner Family eBook Project, one that would honor the life and values of Eric Sonner. “We want to keep up with the rest of the world,” said librarian Karen Corrin about the new collection. “Everybody is excited about ebooks.” To take this idea from intentions to execution wasn’t easy, however: it took two dedicated professionals and a lot of hard work.

Yaroshuk recalled: “I was working as an on-call librarian at the New Westminster Library when Karen contacted me. We met, and I knew it’s too much for one person. We needed a team of two, so they hired my friend, Shannon. We both studied at the same program at UBC and worked together. Having a good partner is important for such a complex project.”

They started out by looking at possible digital content providers. “We had limited options,” said Yaroshuk. “Only a few suppliers offer ebooks to libraries in Canada. There are legal restrictions. And we needed to find Jewish content. Not all the books are available in e-format. We ended up with OverDrive, one of the leading ebook suppliers for libraries in Canada. The format offered is ePub. Many devices can read it: tablets, Kobo reader, iPhone. The library signed a four-year contract with OverDrive.”

“We’re still building the collection. For now, it includes about 50-50 fiction and non-fiction, children’s and adult books. We’d like some feedback from the community before proceeding.”

At first, 50 books will be available to library patrons, but Yaroshuk noted that it’s only a start. “We’re still building the collection. For now, it includes about 50-50 fiction and non-fiction, children’s and adult books. We’d like some feedback from the community before proceeding.”

McLeod also outlined some technical considerations they faced. “There was a problem of online integration,” she explained. “The digital content doesn’t sit at the library – it’s on the OverDrive servers, but the users will be able to access it from the library catalogue.”

Users will be able to link to it from the library catalogue and download ebooks. They will be able to do so from the library or from anywhere in the world, even from home, as long as they have an internet connection and a library card.

According to McLeod, OverDrive has built a special website for Waldman. It looks similar to the library website and uses the same color scheme. Users will be able to link to it from the library catalogue and download ebooks. They will be able to do so from the library or from anywhere in the world, even from home, as long as they have an internet connection and a library card. After three weeks – a standard library borrowing time – the file will disappear from their reading devices.

The computer aspects, as well as the finding and cataloguing of all the books, took time, but now the system is almost ready. It goes live at the end of February.

“It’s a soft launch,” said Yaroshuk. “The official launch is in the beginning of March, but now the next phase of the project starts – to train everyone to use the new system. We’ll have posters, video instructions and printed handouts, color coordinated for different devices. We’ll have demonstrations and one-on-one sessions for the JCC staff, library volunteers, seniors groups, school kids. We are preparing promotional materials to let everyone know about the new service.”

Of course, an ebook needs an e-reader, and not everyone is comfortable with the idea of digitized books just yet, or even owns an electronic reader, especially older adults. “We’d love to offer some e-readers, too, so people could borrow them as well as ebooks, as the VPL is doing, but it’s expensive,” Corrin said.

As representatives of a younger generation, both McLeod and Yaroshuk own e-readers, but “… I love physical books,” said McLeod. “I don’t think ebooks will replace print; they are just a convenient supplement. When you commute or travel, you can have a few ebooks on your device and not worry that you’ll have nothing to read when you finish a book. And the devices are light.”

For information about the ebook collection, call 604-257-5111, ext. 252, or email ebooks@jccgv.bc.ca.

Olga Livshin is a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.

Format ImagePosted on February 28, 2014April 16, 2014Author Olga LivshinCategories BooksTags Karen Corrin, OverDrive, Rachel Yaroshuk, Shannon McLeod, Sonner Family eBook Project, Waldman Library
An organic connection – artists Karen Brumelle and Joanne Waters

An organic connection – artists Karen Brumelle and Joanne Waters

Joanne Waters, left, and Karen Brumelle. (photo by Olga Livshin)

Karen Brumelle and Joanne Waters have much in common. They have been friends for more than 40 years. Both spent their childhood and young adulthood in the United States. Both came to Vancouver when their husbands started working at the University of British Columbia. Both are artists and have participated in multiple exhibitions. Both are inspired by nature. But they never exhibited together until now. Their show, Brush and Wire, is at the Sidney and Gertrude Zack Gallery until March 16.

The artists’ visual narrations complement each other, as Brumelle’s cheerful paintings of rivers and forests provide a quaint background for Waters’ wire sculptures of birds and sea creatures.

“You’re influenced by the place you live in,” Brumelle said, explaining her landscapes of local scenery. Color and line serve as her creative language, the vehicle of her love for her adopted land. “Everything I look at, I mentally put a frame around. I always wonder: what might make a good painting? I take lots of photographs but I don’t want photographic likeness. I want to simplify the images, find their emotional core. I am more concerned with portraying a spiritual essence.”

Orange leaves blaze on her autumn trees. The green flow of the Fraser River invites contemplations. What many Vancouverites see from their windows, Brumelle explores through brushstrokes, paper and scissors.

“Collages are more fun. They are spontaneous, a free exploration.”

In her collages, Brumelle combines paper shapes with painting. “Collages are more fun. They are spontaneous, a free exploration. The pattern of the paper often suggests the collage details. I collect papers, buy them wherever I travel. My collages are more abstract than my paintings but they’re also more playful.”

Perhaps the playfulness of her collages is an echo of her long career as an art teacher. Before she retired in 2004, she taught art at Arts Umbrella and other schools. For 10 years, she taught art at Lord Byng and loved it.

“When I was a teacher, I constantly tried to come up with new exercises for my students. I wasn’t painting as much then – no time – but my creativity was engaged fully. The fun part of teaching was to see what my students would come up with.”

Now, when she has more time, she is drawn to capturing the quiet, elusive beauty of nature. Recently, she also started adding figures to her compositions. “I want to express the wonder of the world, its size, its light and shadow, its patterns and its hidden places. I need to paint. I get grumpy if I don’t.”

“Crochet, knitting, felting, macramé, I’ve done it all. I also made baskets and sculptures from dry kelp and driftwood for 20 years.”

Like her friend, Waters feels the irresistible attraction of nature and the urge to share her artistic discoveries. “I always had to create,” she said. Although by education, she is an occupational therapist, art has always been important to her. “I started with fabric art,” she said. “Crochet, knitting, felting, macramé, I’ve done it all. I also made baskets and sculptures from dry kelp and driftwood for 20 years.” Not many artists occupy such a niche, and her crafty, whimsical kelp pieces sold well at arts-and-crafts boutiques around British Columbia.

She also taught various arts-and-crafts classes and worked in recreational therapy. Among her students were not only healthy adults and children but also seniors with mental and physical disabilities. “When I worked with low-functioning people, my creativity went into making their work look good. Being creative isn’t just art.”

Her transition to wire sculpture is more recent. “When my husband died a few years ago, I moved to a smaller apartment,” she said. “There was no place to dry kelp, so I started experimenting with wire. I made a wire basket. Then I thought: if I could make a basket I could make anything. I made a dolphin. Then a bird. I use picture books and the internet and I usually fiddle with wire in front of the TV. About two hours at a time; afterwards my hands get tired.” Her wire ducks promenade in front of Brumelle’s paintings of ponds and rivers. Her starfish cling to the plastic stool legs as if they were pier piles submerged in a river. Her fisherman dreams of the biggest catch of his life and, behind him, a father and son roam a beach on her friend’s painting. The organic connection between the two artists links them on a subliminal level, as well as in their everyday lives.

Olga Livshin is a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.

Format ImagePosted on February 28, 2014May 5, 2014Author Olga LivshinCategories Visual ArtsTags Joanne Waters.Zack Gallery, Karen Brumelle
Iraq ‘n’ roll at FanClub

Iraq ‘n’ roll at FanClub

Dudu Tassa & the Kuwaitis will play at Vancouver FanClub on March 9. (photo from Chutzpah!)

The 2012 Vancouver Jewish Film Festival brought Dudu Tassa to local audiences – on film. The 2014 Chutzpah! Festival is bringing Tassa to the city again – in person.

Dudu Tassa & the Kuwaitis will play at Vancouver FanClub on March 9. Tassa, on vocals and guitar, will be joined by Nir Maimon (bass guitar), Neta Shani Cohen (cello), Eyal Yonati (computer), Barak Kram (drums) and Ariel Qasus (qanun). They will perform “Iraq ’n’ roll” – not coincidentally the name of the documentary that screened at VJFF.

Gili Gaon’s film Iraq ’n’ Roll followed Tassa as the rock musician/composer reconnected to his musical roots: specifically, as he gathered information about his grandfather and great-uncle, Daoud and Saleh al-Kuwaiti, respectively, who were famous musicians in Iraq in the 1930s. When they emigrated to Israel in the 1950s, they were unable to make a living as musicians and their music was all but forgotten. That is, until Tassa set about discovering more about his cultural heritage.

In addition to the film, Tassa’s 2011 release – Dudu Tassa and the al-Kuwaitis – reinterprets the al-Kuwaiti brothers’ work in a contemporary context. On the album, Tassa “sings their songs in Arabic and Hebrew, and integrates Iraqi, Middle Eastern and Israeli rock music.” The album features archival materials from the Kuwaitis and “integrates a variety of styles and guests, among them Yehudit Ravitz and Barry Sakharov. Tassa’s mother and Yair Dalal also take part in this exciting project.”

Tassa grew up in Ramat Hasharon, in central Israel, close to Tel Aviv. “I started out by playing the guitar and singing at a young age,” he told the Independent in an e-mail interview. “I was noticed, and realized that this was what I wanted to do in my life and went in that direction. Growing up, my musical taste changed but, in my heart, I will always be a rocker. At home, my mum listened to mostly Arabic music when my dad was out of the house. The general idea was to become ‘Israeli’ and to listen to Hebrew music.”

Tassa put out his first album when he was only 13 years old. He described the genre of the music on that recording as “more oriental singing. I then turned towards rock and, by 2000, I was a singer/songwriter. I joined many productions and became a requested guitar player. I played for many years on a famous TV show with a comedian – that’s how I earned the money to finance my own material.”

His second album came out in 2000 and his third, Out of Choice in 2003, includes a version of “Fug el-Nahal,” which his grandfather and great-uncle used to perform; the song also appears on Tassa’s 2004 album Exactly on Time. While the al-Kuwaiti brothers did not write the song, they performed it, and the song represents Tassa’s first foray into interpreting and performing that type of music, sung in Arabic.

“My grandfather and his brother, Daoud and Saleh al-Kuwaiti, were great composers coming from Kuwait to Iraq. They composed many songs, which spread in popularity throughout the entire Middle East. The sultan in Iraq in the ’40s appointed them to start the National Broadcasting Orchestra and they composed, played and recorded for many years, until they emigrated to Israel in the ’50s.

“My grandfather and his brother, Daoud and Saleh al-Kuwaiti, were great composers coming from Kuwait to Iraq,” explained Tassa of what he discovered in his research. “They composed many songs, which spread in popularity throughout the entire Middle East. The sultan in Iraq in the ’40s appointed them to start the National Broadcasting Orchestra and they composed, played and recorded for many years, until they emigrated to Israel in the ’50s.

“I am named after my grandfather Daoud (David); Dudu is a short name for David,” he added. “My grandfather died just when my mum was pregnant with me.

“I had always heard of my grandparents and the dark side of it was that, when arriving to Israel, they had to make their living out of other things and could not support themselves with music. I was aware of it always, but didn’t deal with it.”

He has since dealt with it, of course, and he is continuing his family’s musical legacy with his current work. About that, he said, “In a way, I guess, it keeps their names alive. In Iraq during Saddam Hussein’s period, the composers’ names were deleted on all the compositions (because of their Jewish heritage), and now the world again recognizes them. Also in Iraq, a few years ago, Iraqi musicologists on TV recognized the Kuwaitis to be the most important composers of modern Iraqi music.”

Tassa is also a record producer, he has composed music for film and TV, and has even tried his hand at acting, which was “a truly new experience” for him – he played a Syrian prisoner in Samuel Maoz’s 2009 film Lebanon.

“I am currently working on a new album,” he said, sharing with the Independent that he still gets “excited each time before the release … like a child.”

Dudu Tassa & the Kuwaitis’ appearance at the Chutzpah! Festival is the first of a tour. “We continue to New York – the Jewish Heritage Museum, where they also have an interesting exhibition on Iraqi Jewry – then to Boston, South by Southwest showcases in Austin and, finally, San Francisco.”

About how musical performance has changed since his grandfather and great-uncle took to the stage, Tassa said, “The fact that we can use the computer, and involve recordings inside a live performance, does change a lot.

“As for the audience, I think they will judge good music and bad music so, in that sense, maybe nothing has changed. As a matter of performance, it’s the same. Either you’ve got it on stage or not. I think that although we try to impress [people] with great lights and sounds, it all comes down to if the listener is moved or not.”

Vancouver FanClub is at 1050 Granville St. The March 9 show starts at 8 p.m. Tickets ($25/$30 plus taxes and fees) are available at chutzpahfestival.com, as is the full festival schedule.

 

Format ImagePosted on February 28, 2014April 27, 2014Author Cynthia RamsayCategories MusicTags Chutzpah!, Dudu Tassa, FanClub, Kuwaitis
Idan Sharabi has been dancing all his life

Idan Sharabi has been dancing all his life

Idan Sharabi will be joined by three other dancers when he comes to Vancouver for Chutzpah! (photo by Tami Weiss)

From running around barefoot as a child to dancing for audiences around the world, Idan Sharabi has never stopped moving. “Dancing is the only action I have been doing all my life,” he told the Independent – and we in Vancouver can see him in action at Chutzpah! early next month.

The festival runs Feb. 22 to March 9, and Idan Sharabi & Dancers opens for eight-member Italian contemporary dance company ImPerfect Dancers in performances on March 6, 8 and 9. While based in Tel Aviv-Yaffo, Idan Sharabi & Dancers are an international group: accompanying Sharabi to Vancouver are Ema Yuasa (Japanese), Rachel Patrice Fallon (American) and Dor Mamalia (Israeli). Sharabi himself has studied in Tel Aviv (Thelma Yellin High School of the Arts) and New York (Juilliard School), performed with Nederlands Dans Theatre (NDT) in The Hague and Batsheva Dance Company in Israel, and had his work shown in – among other places – Israel, Switzerland, the United States, Japan, Italy and Canada (Montreal and Toronto).

“I have loved every person I have met from Canada. I have had a great connection with them immediately. There is something I like about Canadians!”

The Chutzpah! show will bring Sharabi to Vancouver for the first time. “I have been many times to Montreal but never anywhere else in Canada,” he said. However, “I have loved every person I have met from Canada. I have had a great connection with them immediately. There is something I like about Canadians!”

Idan Sharabi & Dancers will be coming to Vancouver from a residency in Holland. “Right after, we go to Rome to perform in the Food for Thoughts event [hosted] by the European Dance Alliance of Valentina Marini and, after, to teach repertoire workshops and master classes at the Contemporary Dance School Hamburg, in Germany,” said Sharabi, who has known and collaborated with each Mamalia, Yuasa and Patrice Fallon for some years now.

“Dor and I have worked together for the past 2.5 years,” Sharabi told the Independent. “We met back when I created for him and others in The Project of the Israeli Opera House, in 2011. Since then, we’ve been good friends and inspiring each other to create.

“Ema had danced with me in NDT and we created a lot together there: both Adar and K’zat (two pieces of our repertoire were made back then with her). She joined the group in 2010, when we had just started in Israel with our first show, when we weren’t yet settled at all. It was the show Home, which I had created for five dancers and, only two years later, I was able to start Idan Sharabi & Dancers as a traveling and performing group. It took those years, but Ema stuck with me through it, even though she lived in Holland – it was done by e-mails, phone, Skype. We made it happen, and she joined us again, since August 2013, in the Copenhagen Summer Dance Festival of the Danish Dance Theatre, who invited us to perform Adar there.”

Last but not least, Patrice Fallon and Sharabi met each other in 2011 at the Springboard Danse Montreal program. He has worked with her since then. “I was invited by Yuri Zhukov recently to create for his company ZDT [Zhukov Dance Theatre] in San Francisco, Calif., and I insisted on him auditioning her for the company,” explained Sharabi. “She got it and came to do my project there – we created together Spider on a Mirror. Everyone was happy with the decision to bring her, as she is definitely a great and very physical, groovy dancer with an open mind and heart, and then I realized she should definitely join us every time, whenever it’s possible.” The Chutzpah! show will be the first time that Patrice Fallon joins the full group of Idan Sharabi & Dancers in performance – she will also be with them during their residency in Holland prior to their coming here.

Born in Rishon Le Zion, Sharabi moved with his family to Mazkeret Batya when he was four years old. “It was like a tiny town,” he said of where he grew up. “Back then, everybody used to know each other and you got really close to your neighbors. The whole town was like a big neighborhood. Now, there is a road to it but when I was a child, there was no road yet for cars to drive on, and we used to run there barefoot, there was just sand. Actually, I don’t remember many cars … inside the village. We could basically use the ‘road’ (the sand) to lie down on, we would play there.”

Sharabi said he grew up in a traditional Jewish home. The youngest of three children, he went to synagogue with his father and brother every Friday night, and there was always Shabbat dinner, at least until he was in his mid-teens. “No one from my family works formally in the arts,” he said, “but they are all very creative, and especially my mother, who writes stories and poetry – but never to be published.”

Asked when he first discovered dance, Sharabi shared, “I always remember dancing and moving around as a kid. In general, as a kid, I was weird, according to the stories and my overall feeling. My mom says I was telling her things like there is movement inside plants, that the flower I was holding in my hand is not only what we see. She also says my father tells her that he can never understand me and he thinks my mom and I understand each other because we are both ‘crazy.’

“So, movement, and even exploration, was always there. I first started dancing in a class when I was about 12 years old.”

Sharabi also shared the recollection of a vacation at a hotel where his family stayed every summer. He participated every night in a dance activity for kids. “I think it was called Disco-Kid or something,” he said. “Apparently, according to the stories, I stayed there every day after the other kids left and kept moving around with one of the entertainment team of the hotel, and made myself – and her – memorize movements. By the end of the week, I had a little dance I had choreographed for us! Then, she brought my parents to watch me when I was dancing.”

“I don’t know how to describe how dancing makes me feel, but I can say for sure that dancing is the only action I have been doing all my life.”

A year later, he said, he was studying dance. “I don’t know how to describe how dancing makes me feel, but I can say for sure that dancing is the only action I have been doing all my life.”

One of Sharabi’s recent creations – with two other members of the group – is Nishbar, which means both broken and breaking, and the work has “a lot to do with feeling broken … breaking down or breaking up,” explained Sharabi. He said, “Everything we create in the group is personal on a certain level and people are touched in the creation process. I feel the moment when there is no inspiration for myself or the dancer, it stops there.”

“I realized how we always have our first stage in the process, which is playing a lot of games in the studio, getting to know the dancers, their personalities, their insecurities, the natural movement approach, their ideas of things, their creativity or the lack of it. Mainly, you see the reasons for one to dance almost right there on the spot.”

Sharabi and Mamalia recently were inspired to choreograph a work for Israel Ballet, at the ballet company’s invitation to Sharabi. “It was a very interesting process,” he said. “I realized how we always have our first stage in the process, which is playing a lot of games in the studio, getting to know the dancers, their personalities, their insecurities, the natural movement approach, their ideas of things, their creativity or the lack of it. Mainly, you see the reasons for one to dance almost right there on the spot…. This is something I always start with these days. In my group, I can sometimes just start with a lot of improvising with the dancers, or just watching them improvise and [encouraging] them towards different directions, giving them more and more tools to develop, things that I think of at the moment, leaving the freedom for them to develop other things…. I love this kind of process because I always learn so much from it.”

At the Chutzpah! Festival, Idan Sharabi & Dancers will be presenting a première formed from a couple of different parts of their repertoire. Called Makom, Sharabi explained, “Dor is a dear friend and so I talk to him a lot. I realized at a certain point that I simply love talking to him, I love how witty, funny, easygoing and open and sensitive he can be. I decided to start recording our talks. It became small interviews I would make with him before rehearsing. I asked him stuff in English instead of Hebrew because I started thinking [I would like] to use the material. He didn’t think we would do such a thing and it definitely surprised him to hear himself on the soundtrack. Then we went through a whole process of discovering his voice and the sound it creates in space and time. The textures of his voice and the meanings of what he had said were almost always connected.”

About the future, Sharabi said, “We might travel to Malta this summer. I go a lot to Europe to teach and create for companies as a freelance choreographer and this has created interest recently from a lot of companies to join my company with theirs, and so we do a lot of collaborations.

“We are booked to perform Nishbar and more works from our repertoire in Jerusalem, in Beit Mazye Theatre, in May. After, [we’ll be] in Herzliya with another show with the orchestra there. Poliphony invited my group for this collaboration. Artistic director and conductor Gil Shohat had met me recently and expressed his interest in my work to live music. I loved the idea and we are going to work on that as soon as we step in Israel again.”

ImPerfect Dancers and Idan Sharabi & Dancers are at the Rothstein Theatre on March 6, 8 p.m.; March 8, 2 p.m. and 8 p.m. (evening includes a talkback); and March 9, 4 p.m. Note: There is partial nudity. Tickets ($20-$28, plus taxes and service charge) are available at chutzpahfestival.com, as is the full festival schedule.

Format ImagePosted on February 21, 2014April 16, 2014Author Cynthia RamsayCategories Performing ArtsTags Chutzpah! Festival, Dor Mamalia, Ema Yuasa, Gil Shohat, Idan Sharabi, Idan Sharabi & Dancers, ImPerfect Dancers, Makom, Nishbar, Poliphony, Rachel Patrice Fallon, Rothstein Theatre
Alon Nashman’s play tells story of director John Hirsch

Alon Nashman’s play tells story of director John Hirsch

Alon Nashman as John Hirsch in Hirsch. (photo by Cylla von Tiedemann)

When theatre and its creative engines become the main focus of a theatrical show, the results can be fascinating. An audience is always hungry for a glimpse behind the scenes.

This is exactly the case with Hirsch, which tells the story of the well-known Hungarian-born Canadian director John Hirsch. Premièred at the Stratford Shakespeare Festival in 2012, it played in Edinburg and then Winnipeg, and it’s been a smash hit in each location. It’s coming to Vancouver’s Firehall Arts Centre Feb. 25-March 1. Presented as part of the Chutzpah! Festival, it is co-produced by Touchstone Theatre.

Created by Alon Nashman and Paul Thompson, Hirsch is a solo show, directed by Thompson and performed by Nashman. In an interview with the Independent, Nashman described the show’s origins: “This play was built from research, blossomed into improvisation, and then was recorded, refined and ordered,” he said by phone from his home in Toronto. “It retains in performance something of the anarchic energy of improv.”

As do many theatre people, Nashman admires Hirsch, a legendary figure in Canadian theatre. Born in Hungary in 1930, Hirsch was the sole Holocaust survivor of his entire family. In 1947, he arrived in Winnipeg as a refugee. He didn’t speak any English, but that didn’t keep him from pursuing his passion, theatre. Eleven years later, he co-founded the Manitoba Theatre Centre (MTC) with Tom Hendry. Afterwards, according to Thompson’s research, the MTC audience doubled for seven years in a row – an outstanding achievement in the world of theatre. Later, Hirsch directed phenomenally popular shows in Canada and the United States and from 1974 to 1978 was the head of television drama at CBC. He died of AIDS in 1989.

“Hirsch is a fantastic subject for a play,” said Nashman. “He lived more than nine lives and was constantly reinventing himself.”

Nashman said that the main goal of this project is “to convey the scope of his [Hirsch’s] life and the power of his work. And our solution was to refract his life through his productions. So there’s a back-and-forth between real-life segments and recreations of his rehearsals or performances.”

“I think that, for theatre lovers, it provides a rare glance into the mind of a brilliant director. It is also the story of a man who faced great loss as a child and tried to put the pieces of his life back together through theatre.”

Hirsch has received rave reviews as well as public acclaim, and Nashman attributed its success to the hero of his performance. “I think that, for theatre lovers, it provides a rare glance into the mind of a brilliant director. It is also the story of a man who faced great loss as a child and tried to put the pieces of his life back together through theatre. And there is the immigrant experience of someone who championed Canadian culture and creativity more than the people born to it. For all these reasons, it transcends generations and ethnic boundaries to become an Everyman story.”

As co-creator of the show, an author as well as an actor, Nashman said he doesn’t feel compelled to adhere too strictly to the text of the play. He wrote it, so he is free to improvise, to adapt to the pulse of the audience. As a result, every performance feels different, fresh. “The play-script does not convey the crackle of anything-could-happen, which fills the live auditorium,” he said. “In fact, my opening monologue changes each night in slight but significant ways, depending on the mood and people in the house.”

“Yes, I would love to play more Shakespeare and Chekhov. That’s why I am doing Hirsch. I get to embody his productions of Cherry Orchard and The Tempest and King Lear, imitating some of the greatest actors in Canada.”

The show not only forges a link between the stage and the audience but it also streamlines the history of Canadian theatre performance, from Shakespeare to contemporary works. Despite being a modern play, it allows the actor to experience classics the way Hirsch envisioned them. “Yes, I would love to play more Shakespeare and Chekhov,” Nashman said. “That’s why I am doing Hirsch. I get to embody his productions of Cherry Orchard and The Tempest and King Lear, imitating some of the greatest actors in Canada.”

Of course, introducing multiple characters in one show is challenging, but Nashman doesn’t shy from challenges, on stage or off. “Ideally, every project is a scary challenge, and I actually look forward to the moment in rehearsal when I say to myself, ‘this is impossible.’”

Nashman’s creative road is studded with such moments of daring and triumph. In 1999, he founded Theaturtle, a company whose mission it is “to create essential, ecstatic theatre that touches the earth and agitates the soul,” according to Nashman’s website. He serves as the artistic director and is the only constant member of the company, but Theaturtle has instigated many collaborations. One of these produced another Nashman solo show, Kafka and Son. Initially developed more than a decade ago, it toured successfully across Europe and won the Outstanding Performance Award at the Prague Fringe in 2013. Based on his performance in the show, Nashman was selected Toronto’s number one theatre artist of 2008 by NOW Magazine.

Nashman’s love for theatre began in childhood. “My father was a summer camp director and had a flair for showbiz,” he explained. “But my urge for theatre was self-generated and started when I was very young. It was so natural for me to perform that I had trouble considering it as a profession. Even now, when I’m busy, I say: ‘I have a lot of fun to do today.’”

Olga Livshin is a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.

Format ImagePosted on February 21, 2014May 3, 2014Author Olga LivshinCategories Performing ArtsTags Alon Nashman, CBC, John Hirsch, Manitoba Theatre Centre, Paul Thompson

Amitai Marmorstein’s Superman dream flies

Amitai Marmorstein’s dream as an actor was to play a superhero. However, in an interview with the Jewish Independent in April 2011, he bemoaned the type of roles he was getting and said, “I can never play an action hero, but I often play younger boys.” Fast-forward three years and Marmorstein’s dream has come true – in a way. In the world première of Nothing But Sky, written and directed by local playwright Kendra Fanconi, Marmorstein takes on the role of Joe Shuster, one of the creators of the iconic DC Comics character Superman. The play runs Feb. 21-March 2 at Scotiabank Dance Centre’s Farris Family Studio.

photo - Amitai Marmorstein
Amitai Marmorstein plays Joe Shuster in Nothing But Sky.

Canadian-born artist Shuster teamed up with writer Jerry Siegel, whom he met in high school, and together they gave the world its best-known superhero. Originally depicted as a bald, ugly villain determined to rule the world, Shuster and Siegel morphed their creation into the handsome character we know today, modeled on swashbuckling actor Douglas Fairbanks Sr. The name of Superman’s alter ego, Clark Kent, was made up of a combination of names of then popular movie stars Clark Gable and Kent Taylor.

Superman was an instant hit as a defender of truth, justice and the American way. Unfortunately, Shuster and Siegel were poor businessmen and neglected to secure a copyright, leading to lawsuits with the publishers and the loss of their creation in the 1940s. Undaunted, they came together again in 1948 to create a new hero, Funnyman, a Jewish crime fighter who used humor and sarcasm to defeat his foes – or, as one pundit called him, a “crime-fighting meshuggeneh.” Unfortunately, Funnyman never caught on. Shuster and Siegel parted company, and Shuster experienced a low period, during which time his eyesight deteriorated and he was forced to take work drawing pornographic cartoons to make ends meet.

Marmorstein and Fanconi sat down to talk with the JI before a recent weekend rehearsal. Fanconi described the genesis of the production. “I had an acting teacher who said that movement is like a cartoon character,” she said. “I had just finished working on a project with kids where we meshed line drawings with video projections that interacted on stage, and I thought it would be fun to play with these two concepts – to tell a story through an evolving comic strip. So, I looked for a Canadian artist to showcase, and I found Joe Shuster.”

She set about researching the Jewish duo. “I fell in love with the story of Shuster and Siegel and their Superman. Contextually, he was developed just prior to the Second World War and at a time when Hitler was coming to power in Europe. Shuster and Siegel were these two nerdy little Jewish guys who came from immigrant families and who were bullied at school. They came up this character, who outwardly appeared to be meek and mild but had real inner power and [the] strength to conquer evil. Although Shuster felt that he was powerless to do anything about what was happening in Europe, by creating the superhero, he actually did something that changed the world.”

The third character in the show is Joanne Kovacs, who became the model for Lois Lane.   In real life, they were a love triangle and Kovacs ended up picking Siegel, although she later lamented that she may have made the wrong choice. Fanconi noted, “The story traces their 60-70 years together, through the pinnacle to their fall. I find it more interesting to portray people who are deeply crushed by life and who deal with their losses than those who do not have to deal with adversity. The Lois character is particularly strong, she is an early feminist full of bravery and bravado. She does not have bulletproof skin like the superhero, but she throws herself into various situations to get her story. Actor Dawn Petten does a fantastic job playing that role.”

cartoon - Writer and director Kendra Fanconi depicts her process for Nothing But Sky.
Writer and director Kendra Fanconi depicts her process for Nothing But Sky.

Projections, action sequences and animated characters are used to move through the development of the comic strip. “It is a beautiful but tragic story and we tell it through the form of a living comic book,” Fanconi said. “Keith Murray translated the comic book into a series of projections. It is a video design from beginning to end. It is like creating a comic, starting with a blank page in pencil and then moving through ink and then into color – an evolution – and the color adds emotional resonance. The animation [i]s provided by Paul Dutton of Academy Award-nominated Triplets of Belleville fame who has the last hand-drawn animation studio in Canada. His work is phenomenal.”

Marmorstein loved Superman as a kid. “I never thought I would get a chance to play him,” he said. “When I read Michael Chabon’s Pulitzer-winning The Amazing Adventures of Kavalier and Clay, based on the lives of Shuster and Siegel, I thought some day I’d like to play one of those guys. When I heard about the audition for this play, I was so excited. Usually, I treat auditions all the same and do not get too emotional about them; whatever happens, happens. But I fell head over heels in love with Shuster’s character and I really wanted the part so it was a very traumatic few weeks for me while I waited to hear whether or not I had landed the role. When I found out, I was ecstatic. Coming to work is a joy for me,” he continued. “I do not think of it as a job at all.” Marmorstein felt he was right for the Shuster character. “I relate to his character – someone who outwardly does not have confidence in himself yet, underneath, is very strong and powerful. Working with Robert Salvador [as Jerry] has been great. We really complement each other’s style.”

Fanconi noted that the show is not just for comic book fans but also for anyone who likes a good story. “My hope is that the audience will have moments of depression and moments of joy. If I had to use one word to describe the production, it is ‘dazzling.’”

But a word of caution, Nothing But Sky is intended for a mature audience and is not suitable for children. For video clips, visit theonlyanimal.com. Tickets are available at eventbrite.ca.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

Posted on February 21, 2014April 16, 2014Author Tova KornfeldCategories Performing ArtsTags Amitai Marmorstein, Jerry Siegel, Joanne Kovacs, Joe Shuster, Keith Murray, Kendra Falconi, Nothing But Sky, Paul Dutton, Superman
Noah Drew’s Tiny Music draws inspiration from Sholem Aleichem

Noah Drew’s Tiny Music draws inspiration from Sholem Aleichem

Since last year’s Chutzpah! Festival, the Jewish Independent has been waiting to see Noah Drew’s Tiny Music. The read-through in 2013 was a unique experience of a work-in-progress, and it will be fun to compare that “teaser” with the production that takes to the Rothstein Theatre stage later this month as part of this year’s Chutzpah!

“This play has actually been slow-cooking for almost 10 years,” Drew told the Independent in an e-mail interview. “In 2004, the fabulous actor/writer Josh Epstein approached me about writing and composing a musical together. We jammed on ideas, and decided to adapt a short story by Sholem Aleichem called The Fiddle, which I’d been very fond of growing up. At my grandparents’ house, I used to listen to a record of the great Howard Da Silva reading Aleichem’s stories accompanied by a klezmer band, and The Fiddle was one of my favorites: a dark fable in which a boy who’s obsessed with music is forbidden to have anything to do with it, but can’t help himself, to his family’s ruin. Josh and I wrote a few songs and scenes about a boy in the Old Country who was born with unusually large and dexterous hands – a violin prodigy. Some of the material was great, but then, life happened – Josh booked a big show in Toronto and moved there, and shortly afterwards I got a full scholarship to do my MFA in acting at Temple University in Philadelphia, and also moved east. Every once in awhile, Josh and I would connect and talk about working on the show, but it never quite happened.

“Then, in 2010, I was visiting my friend Sarah Shugarman (a wonderful musician in Toronto) and ended up unearthing one of the songs I’d written for the Fiddle project. When I read her the lyrics, she was effusive in her praise and excitement, and encouraged me to reopen the piece. We talked about co-composing, but in the end the scheduling and geography didn’t cooperate (I had completed my degree and moved back to Vancouver by this point) so I decided to push forward with the project alone.”

photo - Noah Drew
Noah Drew (photo from noahdrew.com)

At the heart of Tiny Music is Ezra, described in the Chutzpah! program as “an autistic man with an auditory-processing disorder that heightens his experience of the sounds around him.” About the writing of such a character, Drew explained that, around the time he re-committed himself to the play, he was “spending a fair amount of time with two members of my family – one adult and one child – who are on the autism spectrum. I also had a private acting student who was autistic. I noticed that all three of these individuals had certain challenges, particularities and special abilities when it came to focusing, and that all three seemed to have a very strong relationship to music. Music has always been incredibly important in my life also, and I was finding nice connections with my autistic family members through listening to and/or playing music together. I conceived of a contemporary version of the Sholem Aleichem story with an autistic man who hears in an extraordinary way at the play’s centre.”

Drew said he wrote a handful of songs and a first draft. “A two-day script workshop in Montreal in January 2013 led me to a second draft of the script, which was presented as a reading in the 2013 Chutzpah! Festival,” he said. “That reading was a bit of a whirlwind – we had only the one day to rehearse – but it was a good opportunity to see how the story was working (and where it wasn’t) and to hear a few of the songs with piano and voice. I learned from that reading that some aspects of the characters and story were really working, but others were a bit superficial and/or clunky.

“I went back into the writing process and, in October 2013, the show’s director/dramaturg Jamie Nesbitt and musical director Yawen Wang came out to Montreal to join me, sound designer Joe Browne and eight Concordia theatre and music students for a six-day workshop of the piece. That was a fantastic process! In addition to further developing the script and story, we got to explore the most important question of the piece stylistically: how can we make the songs, story, instrumental music and sound design all work together as a cohesive whole? We did some wonderful experiments, played around with ways of combining the elements and made discoveries such as: in this show, sometimes a sound cue or instrumental moment could actually replace dialogue. The script, music and sound all moved forward a couple of drafts. The characters were becoming more three-dimensional. The music was becoming more contemporary (‘less Sondheim and more Bjork’). The unique world of the show was coming into focus.”

Rethinking the storytelling

At this point, however, Drew and Nesbitt – co-founders of Jump Current, the producer of Tiny Music – noticed a “significant problem with the script.”

“Although the show is experienced from the perspective of an autistic individual, the storytelling mode was still quite ‘neurotypical,’” explained Drew. “Ezra had monologues in which he explained his situation and point of view to the audience in a very linear, chronological way. But the more I read and spoke to people about the range of autistic experiences, the more I realized that this linear way of speaking and thinking didn’t feel right. At Jamie’s urging, I took the script apart, and re-imagined it as a world in which time and memory are at times fluid, fragmented and unpredictable. Now, in the language, sound, music and staging, we are finding rhythms, patterns and textures that feel more true to who Ezra is. Rather than just describing and showing the story of this unique individual, we are figuring out how to invite the audience to share his visceral experience.”

This is what makes Tiny Music not just a regular, run-of-the-mill musical.

A sound design musical

“I call Tiny Music a ‘sound design musical’ because I want the audience to spend 90 minutes really hearing through Ezra’s ears,” explained Drew. “For Ezra, tiny details of the sonic environment that might go unnoticed by most people are very vivid. Sometimes, these details might mesmerize him. At other moments, they might overwhelm him. And sometimes, he hears the patterns in things so vividly that mundane sounds coalesce and occur for him as music. So, the songs in Tiny Music don’t just happen because, hey, it’s a musical. Instead, we only have songs because either (a) it makes sense that another character would actually be singing to Ezra in a certain situation, or (b) Ezra’s internal experience of certain sound patterns ends up transforming non-musical sounds into a kind of song. And, there are many times in the show – even some pieces I’ve called a ‘number’ – when nobody actually sings. Instead, it’s more like the environment itself that sings … all the sounds on all the floors of the building he’s in combine to make a kind of ‘sound design song,’ or a the voice of a person who is just speaking warps and distorts in Ezra’s perception, becoming rhythmic and harmonic. Every sound can be a kind of music if you really listen.”

 The producers: Jump Current

Tiny Music is but one of several projects that Jump Current is currently producing, despite its relatively recent appearance on the theatre scene. “Very close friends who have led kind of parallel lives for awhile now,” Drew and Nesbitt started the company last spring. Of the reasons for the collaboration, Drew said, “We’re both fairly well known in Canada as theatre designers (he for video projections and I for sound), but we both consider ourselves to be theatre artists in a much broader way than only design. In fact, we both are suspicious of the way that sometimes design tricks and flash can get in the way of real, organic moments of storytelling in the theatre. (Also, as it happens, Jamie and I are both married to yoga teachers who used to work as actors, who are now studying to be expressive arts therapists – go figure.)

“In 2012, Jamie got very involved in working on Tiny Music, and I started working as a dramaturg on a play he’s writing called Salamandra (which is based on the true story of his inheriting a 150-bedroom castle in Poland from his great-uncle, Poland’s former minister of war, and his great-aunt, a former Polish movie star). Because we were doing these two projects together, and because our views about theatre, politics and life are so aligned, we decided to start a company together.

“In addition to creating and producing works of theatre and media-based performance,” he continued, “Jump Current’s mission is to research, develop and champion uses of design and technology that illuminate live human-to-human connection, and counteract people’s sense of alienation from one another. We believe deeply that, although, of course, it’s true that we live in an age when technology can really separate people from direct, organic connection, there are ways that it can also facilitate a shared experience of wonder that can really unite people.”

Another project that Drew and Nesbitt are developing is The Riot Ballet, “which explores themes of crowd psychology, identity and protest – both peaceful and violent,” said Drew. “We recently participated in a two-week development process in Barcelona, which led to some really exciting material and ideas. The team is amazing – this project brings us together with fantastic theatre companies from Spain, Colombia, the U.S., and a dance company from Toronto. We’re aiming for a late 2015 or early 2016 première in the U.S., then dates in Canada and Europe.”

All of this is in addition to Drew being a tenure-track faculty member in the theatre department of Montreal’s Concordia University, his continued freelancing in sound design and his voice teaching work. One of his sound design projects, he told the Independent, is for Horseshoes and Hand Grenades’ production of This Stays in the Room, which will be performed at Gallery Gachet in Vancouver March 19-30.

About his full schedule, Drew said, “I feel very grateful that my years as a full-time freelancer and the demanding process of doing an MFA really helped me develop good time-management skills! But, when it’s all amazing, a busy life is a pleasure. Sometimes, when things get a little too intense, my wife and I look at each other and say, ‘At least it’s not boring!’ We’re usually smiling.”

Tiny Music takes place Feb. 25 and 26, 8 p.m., at the Norman and Annette Rothstein Theatre. It stars Anton Lipovetsky, Susinn McFarlen, Caitriona Murphy and Bob Bossin, with musicians Yawen Wang (piano and accordion), Joe Browne (live electronics), Caitriona Murphy (violin), Mike Braverman (clarinet), Jodi Proznick (bass) and Jason Overy (drums). There is a post-performance talk-back on Feb. 25. For tickets, visit chutzpahfestival.com, call 604-257-5145 or 604-684-2787, or drop in to the Jewish Community Centre of Greater Vancouver.

Format ImagePosted on February 14, 2014August 27, 2014Author Cynthia RamsayCategories Performing ArtsTags Anton Lipovetsky, Bob Bossin, Caitriona Murphy, Chutzpah!, Jamie Nesbit, Jason Overy, Jodi Proznick, Joe Browne, Josh Epstein, Jump Current, Mike Braverman, Noah Drew, Sholem Aleichem, Susinn McFarlen, The Fiddle, Tiny Music, Yawen Wang
Yosef Nider’s debut violin concert is in honor of his Zaida

Yosef Nider’s debut violin concert is in honor of his Zaida

Yosef plays for his zaida, Marvin Nider.

Six-year-old Yosef Nider has been playing the violin for two years. On Wednesday, Feb. 26, 10 a.m., in the gymnasium at Vancouver Hebrew Academy, he makes his concert debut. Yosef will play a recital in honor of his beloved Zaida, Marvin Nider, who was diagnosed with pancreatic cancer in February 2013.

Concert for a Cure will raise money for the B.C. Cancer Foundation. Yosef’s mother, Elizabeth Nider, said the idea for the fundraiser came about organically. “Yosef and I were talking about tzedakah one night before bedtime and he asked me if we’re only supposed to give tzedakah to people who don’t have enough money for food and clothing and I said, no, we can give tzedakah to many other places, such as schools, aquariums, scientists or doctors who look for cures for diseases,” Nider told the Independent. “And then, Yosef asked me what kind of diseases, so I gave an example of cancer and he right away said, ‘I want to give all of my tzedakah to cancer scientists so that they can find a cure for Zaida.’ I told him how that was a very nice idea and cancer scientists need lots of tzedakah because they have lots of experiments and testing to do. Then, a few days later, in the car, Yosef announced, ‘Mommy, I want to make a fundraiser for cancer scientists.’ (I’m still not sure where he got the word ‘fundraiser’ from.) And when I asked him what he wants to do, he said, ‘Have a violin concert.’

“At first, he said that he wanted to have the concert at the place where the Cavalia show is held, but I told him it might not work because it’s probably just for Cavalia. Then I told him I’d do some thinking and get back to him and finally we decided that having the concert at Vancouver Hebrew Academy would be best, because other kids could attend and perhaps get inspired to fundraise for organizations or causes that they are passionate about, as well. And here we are.”

The relationship between a grandparent and any of their grandchildren can be close, but sometimes an eldest grandchild holds a special place in a grandparent’s heart. Yosef, his two siblings, Ephraim and Sari, and their Zaida have the added benefit of living in the same city and the opportunity to develop a closeness that comes from more regular interaction.

“Not to generalize but, generally, zaidas have more fun with older kids since there is more to do with them. Not to mention, Yosef and Marvin have a lot in common: they both love skiing, building, wood working and playing with Lego. They have been doing these things together for a few years and, because Yosef loves to ask questions and Marvin loves to answer them, they’ve gotten to be quite a pair.”

“Yosef is the first grandchild, which makes him the oldest grandchild, which means that he has more exciting things to do with his Zaida,” noted Nider. “Not to generalize but, generally, zaidas have more fun with older kids since there is more to do with them. Not to mention, Yosef and Marvin have a lot in common: they both love skiing, building, wood working and playing with Lego. They have been doing these things together for a few years and, because Yosef loves to ask questions and Marvin loves to answer them, they’ve gotten to be quite a pair.”

Yosef takes lessons in the Suzuki method with a private teacher and he has been spending time specifically on his recital repertoire ahead of the concert later this month, said Nider. “Yosef practises every day except Shabbat and that hasn’t actually changed; he is still practising the same amount. He is, however, practising with his violin teacher more on the songs for the concert and not learning any new pieces for now. He is also meeting with [clarinetist and community member] Connie Gitlin … and they are practising to play together.”

Families approach illness and sharing sad news with their youngest members in various ways, but Nider said she felt clear that she should share the news about her father-in-law’s prognosis with her eldest son, a choice she feels fits with her family’s orientation towards life. “First and foremost, where I get all of my ideas and strength is from living a Torah-based life,” she explained. “We, as Jews, have been blessed with a blueprint for life. It says right in the Torah how to deal with difficult situations … so my ideas are certainly not original by any means. I have found tremendous strength from the belief that Hashem runs the world [and] we are never in control.

“I know that this idea has trickled down to our kids without us even realizing it; I know this because the day after we found out about Marvin’s diagnosis, my husband [Jeff] was in shul with Yosef and my husband was having a hard time focusing so he had to leave. My husband told me that Yosef looked up at him and, seeing tears in his father’s eyes, he said simply, ‘Abba, everything happens for the good.’ Yosef knows that there is a greater plan and that we are not usually privy to the reasons why things happen and when. Just this fact alone is essential in dealing with any kind of difficulty, whether illness or otherwise. I also can honestly say Jeff and I are extremely thankful that in Yosef’s school there is no shortage of educators, from preschool to head of school, who believe these same beliefs [and] teach children these values from the get-go. So, what I teach my child at home is hugely supported at school and I have found that these two factors greatly increase Yosef’s appreciation for why things happen, both good and bad, and how we can’t always explain the reasons.

“Personally, I believe that explaining in simple terms what is happening is helpful in keeping children from being afraid. If they understand what cancer is, for example, then there will likely be less fear because it makes sense and it is not a secret.”

“Another aspect that I have found to be effective is being open. Personally, I believe that explaining in simple terms what is happening is helpful in keeping children from being afraid. If they understand what cancer is, for example, then there will likely be less fear because it makes sense and it is not a secret.”

Yosef’s original fundraising goal for the B.C. Cancer Foundation “was $1,000 and he surpassed that goal in less than 24 hours of word getting out about Concert for a Cure,” said Nider. At press time, Yosef had surpassed $6,500 and his new goal was $10,000. The Feb. 26 concert was sold out.

“It’s incredible to see this level of support,” Nider said. “People who don’t even know Marvin but just know Yosef have donated, and vice versa. We didn’t realize it, but the creation of Concert for a Cure has become something of a small piece of joy amidst all of the daily stress and worry that is affecting our family. Marvin and Barbara (Yosef’s Bubby) check the donation website often and it’s giving them nachas to feel supported by friends, family and people who they don’t even know but who believe in this cause.”

Meanwhile, Yosef is also a regular six-year-old. His favorite subjects at school are art and math. Asked what is the best (and worst!) thing about playing the violin, Yosef said that the best thing is “that people listen and that it’s fun.” And the worst? “When people say ‘encore.’” Sorry to say, Yosef, chances are that’s exactly what you’ll be hearing on the 26th – and a hearty bravo.

To donate, visit donate.bccancerfoundation.com/goto/concertforacure.

Format ImagePosted on February 14, 2014April 16, 2014Author Basya LayeCategories MusicTags B.C. Cancer Foundation, Barbara Nider, Elizabeth Nider, Jeff Nider, Marvin Nider, Vancouver Hebrew Academy, Yosef Nider
Freud’s Last Session at Galbraith House a philosophical romp

Freud’s Last Session at Galbraith House a philosophical romp

Richard Newman as Dr. Sigmund Freud, left, and Damon Calderwood as C.S. Lewis. (photo by Damon Calderwood and Chris Robson)

When the air-raid siren goes off, it is hard not to heed it, and seek cover. So engaged does one become in Freud’s Last Session, which is on until Sunday at Galbraith House in New Westminster.

The house is an impressive sight. Built circa 1892, the 30ish audience members are already transported into the past by the time they walk through the front doors. As they take their seats in the living room, literally within breathing distance of the action, the set brings them into the late 1930s – Freud’s wooden desk to the left (that, notably, is covered with divinity statuettes from various cultures), a console radio flanked by two leather chairs in the centre, and the psychiatrist’s couch on the right.

Presented by City Stage New West, the Couch Trip Collective production features veteran actors Richard Newman as Dr. Sigmund Freud and Damon Calderwood as British author C.S. Lewis. In such an intimate space, with such competent actors delivering the dialogue, it is almost a voyeuristic experience. Director Chris Robson keeps the pacing tight, and the sound effects – from the radio, to a ringing phone, to a barking dog, to the aforementioned air-raid siren and rumbling plane engines – add to the immediacy.

Freud has asked Lewis to his home, and the fictional meeting is taking place on Sept. 3, 1939, the day that Britain declares war on Germany. Snippets of Neville Chamberlain’s address and of King George VI’s are played on the radio, as Freud periodically interrupts his discussion with Lewis for updates on the news.

Lewis is nervous at first because he thinks Freud has summoned him out of anger for how Freud is portrayed in Lewis’ Pilgrim’s Regress. But Freud is more interested in why an intelligent man like Lewis went from being an atheist to embracing Christianity. Their brief conversation gets heated on more than one occasion. Freud is particularly impassioned at times, not only from the strength of his beliefs, but from the exhaustion and frustration of being in constant pain – at 83, he is dying of oral cancer, and the play quite realistically depicts his agony, and the goriness of the disease.

The debate starts with God’s existence, and bounces back to it more than once, but covers a wide range of topics, including the impending war (and Freud’s narrow escape to England from Austria), morality, shame, desire, humor, what is now known as post-traumatic stress disorder, Jesus, the afterlife, ancient belief systems, suicide, relationships, sex and music. The play avoids becoming bogged down in heavy, philosophical dialogue by only touching upon each topic. An interruption happens – a phone call, a coughing attack, or what have you – after which the discussion generally turns to something else. Another perhaps surprising aspect of Freud’s Last Session is that the script, written by Mark St. Germain, contains many well-timed witty remarks that break up the seriousness of the subject matter, as well as the situation – both the advent of the Second World War and Freud’s intention to kill himself before the cancer does. The result is a play that may not change minds, but it will spark contemplation and discussion, which is more than enough.

Freud’s Last Session is at Galbraith House, 131 Eighth St., New Westminster, until Feb. 9. For tickets, visit brownpapertickets.com/event/549655.

Format ImagePosted on February 7, 2014August 27, 2014Author Cynthia RamsayCategories Performing ArtsTags C.S. Lewis, Chris Robson, City Stage New West, Damon Calderwood, Freud's Last Session, Mark St. Germain, Pilgrim's Regress, Richard Newman, Sigmund Freud, the Couch Trip

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