The Hot Mammas – left to right, Mary Ella Young, Julie Brown and Georgina Arntzen – with Tom Arntzen. (photo by Dee Lippingwell)
The Hot Mammas – Mary Ella Young, Julie Brown and Georgina Arntzen – with Tom Arntzen perform a Remembrance Day Revue on Nov. 10 and 11 at the Corner Stone Bistro in North Vancouver. With careers spanning decades, they have done it all, from folk to jazz, radio to musical theatre, Vancouver to New York; these women know how to work a room. Long-time friends Arntzen, Brown (who is a member of the Jewish community) and Young formed the Hot Mammas in 2004 and they entertain audiences with the kinds of stories and harmonies that can only come from such a friendship. For reservations, call 604-990-3602 or visit thehotmammas.com.
Mini poems that rhyme and colourful illustrations combine for a family-filled, fun-filled and food-filled holiday book for younger revelers. Hanukkah, Here I Come! (Grosset & Dunlap) by writer D.J. Steinberg and illustrator Sara Palacios is an energetic account that touches upon all the many things a kid might look forward to on Chanukah.
Starting with the setting up of the candles and the stacking of the presents, the meal prep also begins. The children help out their parents.
We briefly learn about the brave Judah Maccabee, “Macca-BAM! Macca-BOOM!” and how he and his brothers made history and the Jews took back their Temple. We light the candles, sharing in the joy with the neighbours across the street, who can be seen from their apartment windows. First gifts are unwrapped and selfies are taken – these illustrations are particularly delightful, as we see and read: “Click! That one cut off my sister.
“Click! Where’s my mother’s head?
“Click! That one’s dark and blurry.
“Click! That’s Mom’s finger instead.”
A page from Hanukkah, Here I Come! (Grosset & Dunlap) by writer D.J. Steinberg and illustrator Sara Palacios.
There is chocolate gelt, a lesson on how to play dreidel and a visit to Bubbe and Grandpa’s (implying a mixed family perhaps, that the grandfather is not Zayde). Latkes and apple sauce – or are you on Team Sour Cream, instead? – follow. The happy noise of the family celebrating together mounts and dinner is served, with a warning that your jelly doughnut dessert might just explode all over your face.
The last night of Chanukah arrives all too soon.
Editor’s Note: Unfortunately, because of supply chain issues, the publication of Hanukkah, Here I Come! has been postponed to fall 2022.
Live performances – that you can see in person – are, thankfully, a thing again. At least, for now. And this year’s Chutzpah! Festival, Nov. 4-24, features many shows that people will be able to attend, most of which will also be streamed digitally.
For the two artists the Jewish Independent interviewed this week about the festival, the upcoming performances hold special meaning.
“I am so looking forward to coming back to Canada,” said New York-based comedian and storyteller Ophira Eisenberg, who was born in Calgary. “And Vancouver at that! Where it all started.” Eisenberg performs Nov. 7 at the Rothstein Theatre.
Shay Kuebler/Radical System Art’s Momentum of Isolation sees its world première at the theatre Nov. 13 and 14. The dance company returns to Chutzpah! as resident artists. The Rothstein Theatre and Chutzpah! “have been critical to the growth of Radical System Art and my work as an individual artist,” Kuebler told the Independent, describing the theatre as “the cradle that supported us” during “our infancy as an organization.”
“When I stepped back into the theatre,” Kuebler said, “it was like being back in a close friend’s home. It feels right. There’s a groove and comfort there. This has enabled us to create with as much momentum as possible, both as a company and collective of artists.”
Stepping back into a theatre has been an emotional experience for many artists.
“This spring in New York, I performed numerous times outside,” said Eisenberg. “All of the situations were a little different and, a couple of times, the address of the show was a large tree in a park! It wasn’t ideal and definitely was challenging, but people really wanted to laugh and take in some live entertainment, so it was uplifting.
“My first real performance inside at a comedy club was in early May, when New York opened small performance venues,” she said. “The audience was distanced and masked, and I think they laughed louder and harder than an audience of 3,000 – or maybe my ears weren’t used to hearing live indoor laughter and it sounded explosive. Either way, it almost brought me to tears, and I know I’m not the only one that felt that way.”
Eisenberg comes to Vancouver soon after the final episode of National Public Radio’s comedy trivia show Ask Me Another, which she hosted for nine years, interviewing and joking with numerous famous folk, including Sir Patrick Stewart, Awkwafina, Ethan Hawke and Julia Stiles, among many others.
“After interviewing hundreds of celebrities, authors, musicians,” said Eisenberg, “one thing that stands out to me is that, whenever we talked about a project that meant a lot to an artist, they mentioned that what made that project so successful was the supportive environment – and the fact that they worked with people who allowed experimentation and even failure. That ended up bringing out their best work. I think about that a lot when it comes to creating a space for artists to truly succeed.”
Eisenberg has headlined and performed at countless festivals and appeared on numerous comedy networks and programs. She has her own comedy special, called Inside Joke, and her first book, Screw Everyone: Sleeping My Way to Monogamy (Seal Press), was optioned for a feature film. She is a regular host and storyteller with the Moth, an organization that has become a radio show and podcast, in addition to putting on live events and other activities.
As for what she would still like to accomplish in her career, Eisenberg said, “I’m working on another podcast that I hope is also long-running! But I have so many things I’d like to do. Maybe too many things! On the docket are writing another book, and I’d love to write for TV. Performing live is my first love, so I’m looking forward to a safer world where that can happen more often.”
Eisenberg’s journey to success began at a young age.
“I truly believe I was drawn to New York as a child from watching Sesame Street!,” she said. “I went to McGill for university, where I got a bachelor’s in anthropology and theatre, then moved to Vancouver for a couple of years, where I tried standup for the first time.
“I was honestly too scared to move to New York,” she admitted, “so I moved to Toronto and spent five years performing and starting to understand my craft. Then, one day, I thought, ‘I need to move to New York now while I can still happily live with a futon and milk crate furniture.’ Two years after moving here, I discovered the Moth…. I love writing jokes, but I was working on other material that just did not fit into the standup mold. I found an outlet of expression at the Moth and in this short form storytelling, and I continue to pursue both.”
When asked to describe her connection to Judaism and/or Jewish community or culture, Eisenberg said, “I have a joke in my act that goes something like this: ‘I was raised Jewish in Calgary, Alberta, or so I thought because when I moved to New York I wondered, “maybe I was raised Protestant?” Everyone in New York is more Jewish than I am. My Puerto Rican neighbour knows more about Judaism than I do.’
“That is just a joke but living in New York is definitely the first time I felt surrounded by pervasive cultural Judaism. My father was the principal of the Hebrew school in Calgary but left that job the year I was born, so I went to public school. We still practised at home and went to synagogue during the High Holidays. As an adult, I’ve definitely been able to find my community here in Brooklyn, which is very wonderful and embracing.”
Exploring isolation
In 2018, before the pandemic sent us all into relative isolation, the United Kingdom appointed its – and, apparently, the world’s – first minister of loneliness, to address the problem as a public health issue.
“Right away, the title of ‘minister of loneliness’ grabbed me,” Shay Kuebler told the Independent. “There’s something very simple about it and it almost feels like a caricature, yet, when you think of someone whose entire work/career is to disrupt loneliness, it becomes deeply serious. When you read about isolation and loneliness, the gravity of this position becomes even more clear.”
The United Kingdom’s action was a catalyst for Kuebler, who noted, “You can now find multiple countries that have ministers of loneliness.”
The work Momentum of Isolation “speaks to a number of ideas around isolation and loneliness,” he said. “By doing so, I hope to open up greater conversations around the topic and maybe have audiences start their own exploration of the topic.”
Sarah Hutton performs in Shay Kuebler/ Radical System Art’s Momentum of Isolation. (screenshot)
Momentum of Isolation explores the theme both through physical isolation and social isolation, explained Kuebler. “These two points are explored through a number of different scenes, which make the show episodic in its structure, with some through-lines and arcs for characters moving all the way through.”
The work has turned out to be even more relevant than Kuebler initially thought it.
“Honestly, this show took on an evolution that I could have never projected,” he said. “The timing of our first full-company research period coincided with the closures and lockdowns across 2020. I knew that this project was important, and being forced into an online/isolated form of research was profound, to say the least.
“This isolated online research, which enabled one-on-one time with each of the company artists, created a well of material,” he said. “It was a format that was completely new, but something I found extremely valuable. While working with each artist one on one, I was simultaneously writing and composing music for the work. This not only led to a lot of new scenes and ideas, but it also distilled what was most relevant and necessary to say.
“For me, this piece was both a rediscovery and a reinforcement of what I hold most valuable. It has brought me back to how and why I want to create. I am grateful for this.”
For those unfamiliar with Radical System Art and dance in general, Kuebler added, “I know when we hear ‘dance’ and, especially, ‘contemporary dance,’ a lot of people can feel hesitant. I want readers and audiences to see this show as more of a ‘contemporary theatre experience.’ It brings together technology, design and multiple art forms around a very relevant – and timely – theme. It is something being made now, through many different artists and their many unique experiences…. With a collaborative approach to connecting with our audiences, we hope to create something new, relevant and accessible.”
For Chutzpah! tickets and the full lineup, visit chutzpahfestival.com or call 604-257-5145.
Micah Groberman with his son, Evan. (photo by Micah Groberman)
The current photography exhibit at the Zack Gallery, Discoveries: A New Way Forward, allows visitors a peek into the wilderness of British Columbia. A bird serenades the sunset. A bear crosses a road. A coyote glares into the camera. Even a Whistler bridge seems to lead to an adventure in the forests and mountains of our province. The photographer, Micah Groberman, talked to the Independent about his art and how the pandemic set him on his new creative course.
“Before the pandemic, I had a business with a partner, Ivan Solomon. We did many different things, but mostly we designed wall murals for children’s stores, hospitals and private clinics,” said Groberman. “After the pandemic hit, we couldn’t do it anymore, couldn’t stay inside the enclosed spaces for the long time it takes to create a large mural. Many places closed. School was canceled. I had to stay at home and take care of my sons.”
Micah Groberman’s photo of a hummingbird feeding her babies was featured on CBC.
For Groberman, instructing his elementary school sons from a set curriculum was frustrating. “I’m not good at math,” he joked. So he found something else to do with his boys. He shared his passion for nature with them. They went for walks in local parks. And they took photographs.
“I started taking photos when I was about 9,” Groberman recalled. “It was with a simple camera, the point-and-shoot kind. I enjoyed it and did it for a long time, simply for myself and my family. During COVID, my photography took a more serious turn. I wanted to do it well. I wanted to learn. I watched videos on YouTube. You can find all sorts of useful tips online. I got myself some professional gear, a large camera. And I took photos. Many, many photos. I learned by doing.”
Groberman classifies his images into three categories: landscape, wildlife (which includes all his animal and bird shots) and fine art. The last category is the most inclusive. It overlaps with landscape and boasts some unusual shots, like a PNE ride from a rare angle or an old pickup surrounded by flowers that displays an uplifting message in its cargo bed.
Micah Groberman took this photograph last year at the Richmond Sunflower Festival.
“I took it last year at the Richmond Sunflower Festival,” Groberman explained. “The organizers put the old truck among the flowers, and I thought it looked interesting.”
Many of his images, especially of wildlife, are fascinating because he has sought them out. In addition to artistic skill and adequate hardware, nature photography requires a great deal of perseverance and patience. Groberman has both.
“The bear that crosses the road – I took this picture from my car,” he said. “We were in Whistler, driving around, looking for bears. It took us three hours, until one walked out of the woods.”
Another of his amazing wildlife shots is a coyote on a piece of driftwood. “I noticed him hiding in the bushes on the other side of a stream in Richmond. I followed him for about five minutes, with only glimpses, until he came out and stared at me. I took the shot, but I was glad there was water between us.”
While taking his own photos, Groberman tried to share his knowledge with his sons. “My younger son wasn’t that interested,” he said, “but my older son, Evan, took to photography. I taught him, and he inspired me. Many of my photos in this show I took when I was with him. I think teaching him made me a better photographer.”
Groberman hadn’t ever exhibited his photos prior to the pandemic. He had never even thought about doing so. “It was just a hobby,” he said. “But, in 2020, I participated in a group show at the Zack. A couple of my son Evan’s photos were also on display. That’s how I first met Hope [Forstenzer], the gallery director.”
It took a few hours of searching before Micah Groberman came across this bear and took its picture.
According to Groberman, the current show was supposed to be a double feature, including a sculptor as well. “But the sculptor didn’t happen,” he said, “so it became my solo photography show. There are 37 images in the show: 30 are mine, seven are Evan’s. We have a show together.”
The name of the show – Discovery – came from the experiences shared between father and son. “Our walks together were bonding,” said Groberman. “We discovered things together. Evan discovered new skills. I discovered a new way to move forward and I discovered teaching. That’s where the name of the show came from.”
Groberman hopes that his wall mural business will recover once the pandemic ends, but he also sees several new avenues for his creativity.
“I want to do more with my photography,” he said. “I’m exploring different options, trying to establish myself locally. I went to stores to offer them prints of my photos and postcards. I rented a bunch of my prints to a movie set. I entered local contests. One of my photos – a mama hummingbird feeding her babies – was featured on CBC. Another – a photo of a heron – won the Richmond banner contest last year in the nature category. You will see my heron on the streetlights in Richmond. I have an Instagram account. I’m just starting with photography, but I want to see where I can end up.”
Discover opened on Oct 4 and runs until Nov. 7. Learn more about Groberman’s work at micahgphotography.com.
Olga Livshinis a Vancouver freelance writer. She can be reached at [email protected].
Haley K. Turner has made a parody of her own Chanukah song, in an effort to get Adam Sandler’s attention.
On Nov. 3, local singer-songwriter Haley K. Turner is releasing what might be the only original Chanukah song set for release this year, and one of only a few in the last 25 years. Inspired by a recent plea from Adam Sandler for “someone out there” to write a new Chanukah song, Turner did just that.
In the tradition of nostalgic, sentimental classics such as “Have Yourself a Merry Little Christmas,” “Intangible Things (A Hanukkah Song)” features a string orchestra with lyrics that were completed early this year, on the very last snow day of last winter.
Since Sandler asked for the song, Turner decided he should know about it. In an attempt to garner his support, she wrestled an alligator in a Happy Gilmore parody video, which can be seen on YouTube; created a tutorial on “How to Get in Touch with Adam Sandler”; and recorded a parody of her own new song, “Intangible Things.”
The videos showcase Turner’s spirited side, one that may not have been recognizable from the vulnerable storytelling displayed on her debut LP in from the dark, which was released early 2020. (See jewishindependent.ca/find-comfort-in-music.) It was recorded at Monarch Studios with Juno-nominated producer and musician Tom Dobrzanski (Said the Whale, the Zolas). Her 2011 EP, Ready or Not, was produced by Ben Kaplan (Mother Mother, Five Alarm Funk).
It may take a miracle to get Sandler’s attention but, as Chanukah shows us, miracles do happen.
To hear “Intangible Things” once it’s released, as well as its parody and the Happy Gilmore video, visit facebook.com/haleykmusic.
Alley Theatre, in partnership with Good Night Out Vancouver, presents the world première of a multi-perspective, docu-theatre dance creation entitled #whatnow, Oct. 28-Nov. 7, at the Russian Hall, as part of the Downtown Eastside Heart of the City Festival.
After collecting hours of audio interviews from people of different genders, sexual orientations, cultures, ages and abilities, real-life stories and reflections around the #metoo movement come to life through the mediums of headphone verbatim (explained below) and dance.
Marisa Emma Smith (photo from Alley Theatre)
“This piece is both a celebration of survival and a call for action,” explained co-director and sexual assault survivor Marisa Emma Smith. “What surprised me the most about interviewing people is their natural humour and poeticism. We couldn’t have written better lines to describe the things they went through or committed. I am so honoured to have met them all.”
Co-director and choreographer of #whatnow is Amber Barton, who has been a featured performer at the Chutzpah! Festival.
“We’re living in a time of increased awareness and social justice,” said Barton. “For me, that means it’s important to keep our conversations, such as the ones around the #metoo movement, alive. #whatnow is a unique performance experience that helps us to continue these conversations. I feel so privileged to be part of this production and to be trusted with the stories that have been shared with us.”
Amber Barton (photo from Alley Theatre)
#whatnow includes testimonials from survivors of harassment, misconduct and assault, as well as stories from those who took accountability for their harms. Throughout the piece, Barton has crafted ensemble movement that articulates tone, environment and viewpoints. The work also uses the format “headphone verbatim,” where edited audio interviews are played through headphones to actors on stage and the actors mimic and repeat what they hear, in real time. Every cough, stutter and hesitation is reproduced, and the actors never “memorize the lines.”
#whatnow features performances by Sabrina Symington, Yvonne Wallace, Patrick Dodd, Emily Grace Brook and Siobhan Sloane-Seale. Running time is approximately 80 minutes, with professionally facilitated conversations afterward. There are a few gender-specific performances, to allow for an honest and supported environment for audiences to respond to the performance with other people of the gender they identify as most. As well, there is ASL interpretation at the Nov. 7 show.
Tickets start at $15 and $2 from every ticket goes to Pacific Association of First Nations Women. The Oct. 28 preview is two-for-one. Visit alleytheatre.ca.
Think you’re not a puzzle person? Think again. “We solve puzzles of every sort, every day. They show up in so many of our life choices – in our decision-making, in our development of human relationships, in time-management, and so on,” writes local Jewish community member Jonathan Berkowitz. “Although puzzles are usually considered to be activities of recreation, having any facility with puzzle-solving enhances other life skills. It helps you with listening, parsing, decoding, defining, lateral thinking – in short, problem-solving.”
In his recently published book, The Whirl of Words: Puzzling Past and Present (FriesenPress), Berkowitz gets into the nitty gritty – history, philosophy, etymology, mechanics – of puzzle construction and solving in a conversational style that makes for good reading, even if you don’t absorb all the details on the first go. In fact, an ability to give something the once-over and then revisit it is an important aspect of puzzle-solving. It’s the second of eight steps that Berkowitz offers for solving puzzles, which would serve well for any puzzling situation.
Puns, by the way, are a part of wordplay, which, writes Berkowitz, “involves perceiving patterns where none were expected. Pattern matching is a hallmark of intelligence. It is at the root of science and art. Much of thinking is really just finding the underlying pattern.”
Berkowitz is adept at both science and art. He appears regularly on CBC Radio 1, where he is “the Word Guy” on the show North by Northwest. He creates and solves puzzles and is a member of the National Puzzlers’ League. Oh, and he’s a professor of statistics at the University of British Columbia’s Sauder School of Business.
The Whirl of Words is about all kinds of wordplay, the main types of which, Berkowitz explains, “involve letter play (wordplay involving the letters of the alphabet and their usage in words without regard to sound or sense), sound play (wordplay involving the sounds of words without regard to letters or meanings) and meaning play (wordplay involving the meanings of words without regard to letters or sounds).”
There is a chapter on numbers, both as words (one, two, three, etc.) and as mathematical concepts. There are discussions of the potential cognitive and other benefits of puzzle-solving, such as learning about a range of topics, from sports to geography to politics.
“Word puzzles improve vocabulary, grammar, spelling and communication skills, boost memory and enhance cognitive and analytical skills,” writes Berkowitz. “By improving your problem-solving skills, you may also improve your performance at work and in other areas of life. They can be a positive factor for your mental health, because focusing your attention on a puzzle can aid relaxation, ward off anxiety, and keep your emotions under control. After all, how can you think negative thoughts when you’re concentrating on a puzzle? And, doesn’t it feel fantastic when you solve a puzzle?”
Going back to his eight steps, out of context, they could be mistaken for a self-help guide:
“The puzzle is in the details. Read the instructions carefully. Then read them again.”
“Give it the once-over, twice. Assess the challenge.”
“Don’t just sit there, try something.”
“Don’t give up; persist.”
“Open your toolbox.” What approach might lead to a solution?
“Use the force wisely. Be systematic and efficient.”
“Sleep on it…. Like a train, once you are on a track, it is difficult to change tracks. Put the puzzle aside and come back to it with fresh eyes and a refreshed brain.”
“You are not alone. It is perfectly fine to seek help from resources.”
As is also true with general life circumstances, the key to getting better at something is to practise. And Berkowitz provides plenty of puzzles for readers to solve, as well as the answers to them at the end of each chapter.
The Whirl of Words includes a selected biography for those interested in further learning, and a much-needed glossary – most readers will discover many new words and terms while enjoying this book.
To read excerpts from The Whirl of Words and to purchase a copy of it for yourself or a fellow puzzle lover, visit thewhirlofwords.com.
After COVID-19 hit, The Eichmann Project – Terminal 1 evolved into a per- formance directed to a camera. (photo from Pathos-Mathos Company)
Art has many facets, forms and reasons for being. As much as it can be an escape from our daily realities, it can help us process and understand them, sometimes in vastly different ways. The Chutzpah! Festival, which opens Nov. 4 with City Opera Vancouver singers performing to the Marx brothers’ A Night at the Opera, features many examples of entertainment with multiple purposes.
On the face of it, Project InTandem’s dance double bill (Nov. 6-7) might seem to have nothing in common with the theatre work The Eichmann Project – Terminal 1 (Nov. 8). Yet both deal with, among other things, trauma and post-traumatic stress disorder, as well as our ability to change ourselves and even our circumstances.
The Eichmann trial
Lilach Dekel-Avneri and the Pathos-Mathos Company’s Terminal 1 examines the 1961 trial, in Israel, of Adolf Eichmann, one of the main perpetrators of the Holocaust. The books of attorney-general Gideon Hausner, political theorist Hannah Arendt and journalist and poet Haim Gouri, “with their testimonies on the trial, were the inspiration for the three main ‘characters’” of the theatre work, explained Dekel-Avneri. “My dramaturg, Liat Fassberg, and I, like in a Greek tragedy, positioned the two main characters with opposing worldviews, one against of the other. The words by poet Haim Gouri, who was present at the courtroom and reported daily from there, were composed and treated as a chorus. The chorus tries to advance in telling the tale of the trial while providing a dramatic lament on the happenings.
“It is actually a trial of the trial,” said Dekel-Avneri, “dotted with texts from researchers of the Holocaust and post-traumatic stress disorder, poets, philosophers, and performers’ live comments between those three main voices. The COVID-19 epidemic presents itself in the team’s testimonies and actions, erasing all plans and forcing project evolution into a digital performance to the camera.”
Dekel-Avneri refers to the Eichmann trial as “the first reality show in Israel.”
“A lot has been said about the connection between trials and performance,” she explained. “The Eichmann trial was the first trial-show recorded in front of a live audience, that actually bought tickets, and was projected live on the radio, later on television, with the full documentary show now available on the internet.”
Terminal 1 explores the concepts of collaboration and obedience, and asks, “What is our responsibility as citizens, as artists?”
“It’s an extension of Arendt’s brilliant manifest evoking the citizens to think by themselves and not to obey automatically. Not to automatically be part of horrific systems, just because they say: do this and not that,” said Dekel-Avneri. “We are thinking creatures, the least we can do is use our heart and brain, take responsibility for our actions, and not collaborate with demons.”
The show initially was created to be interactive with an audience and then remade for film because of COVID.
“During 2020, at the beginning of the outbreak, the Israel Festival, where we premièred, decided to move online, so I made my choice,” said Dekel-Avneri. “Since I do not believe in shooting a theatre show and screening it, I had to let go of my vision for the full project I was working on for six years, and re-create it as something new, made especially for the camera.
“The Eichmann Project – Terminal 1 is, for me, the first station, like its name,” she continued. “The last station may be completed in the future, or not. It will need to start almost from the beginning. We hope that one day we will find a sponsor or a theatre to collaborate with and fulfil the vision of this Via Dolorosa of 21 live scenes. The trial is not going anywhere and, unfortunately, we, by ‘we’ I mean humanity, do not learn from our past mistakes, so it looks like it will remain relevant for awhile.”
Lilach Dekel-Avneri (photo by Shachaf Dekel)
Dekel-Avneri recently premièred Crowned, which she described as “a performative portrait, broken by the encounter with time, shattered in the prism of the plague, emerging through a web of video and audio testimonies by seven women at different decades of their lives, which coalesce into a course of a lifetime. An attempt to leave a monument to the voice of femininity at the current time, femininity striving, despite everything, to see the opportunity for growth within the crisis and wonder about the intersection between life and art at a time of change. These women take responsibility of their actions, future and well-being,” she said.
“In a way,” she added, “Crowned is a post-traumatic response to what COVID did to The Eichmann Project. After being torn apart from my original vision and separated from the audience, I prepared a show for any situation – we are not afraid from lockdowns or the camera anymore. The camera became a friend, a tool and a partner, to continue creating performative works.”
Struggle, empowerment
Project InTandem – which was cofounded by Calgary-based producers and choreographers Sylvie Moquin and Meghann Michalsky in 2017 – brings two works to the Chutzpah! Festival: Deep END by Michalsky and moving through, it all amounts to something by Moquin.
“This double-bill,” explains the press material, “explores themes of female struggle and empowerment…. Michalsky investigates how movement can accumulate and evolve through set rounds and repetition. Moquin’s work is inspired by the concept of neuroplasticity and the journey of rewiring one’s patterning.”
Project InTandem – Meghann Michalsky and Sylvie Moquin – bring two works to the Chutzpah! Festival. (photo by Tim Nguyen)
The pair met for the first time when they both created short works for a production at the University of Calgary, eventually forming Project InTandem “to share workload, resources, and to create an opportunity for emerging artists to produce evening length work.”
“Having Meghann as a collaborator has always pulled me to a higher standard,” Moquin told the Independent. “I think we work together in a way that elevates us to achieve more than what might be possible on our own. It also makes the journey of being an artist less lonely.”
“Our approaches to dance can sometimes overlap because we have had similar experiences or opportunities, or trained within similar methods,” they said in their email interview with the JI. “All of our accumulated experiences as dancers and movers inform us as creators; those experiences become like an inventory of information.”
Moquin has been a dancer within Michalsky’s choreographic works since 2018, so that also informs their relationship.
“Some of our shared values include creating work with visceral physicality, creating opportunities within our city, elevating the production value of contemporary dance work, and always prioritizing integrity,” they said.
Each has her own interests, though.
“I am really interested in exploring what the body can endure in this work,” said Michalsky. “We push and we push again. As performers, we pass through movements and states and eventually surrender to things that are no longer needed. I am interested in seeing the dancer go through something tangible in real time, something that is honest and showcases risk and vulnerability. As a choreographer, I play with conflict from both internally in the body and externally in the space and I desire for both of these things to be felt by the audience.”
About her piece, moving through, Moquin said, “When creating this work, I was completely immersed with investigating partner work (the way bodies engage and interact) as well as being upside down. I used these primary desires to dig into the concept of neuroplasticity – the way we adapt, the way we can gain governance over our thinking; sometimes even the feeling of being trapped in our own mind and thoughts.
“I am a big believer that we must fail in order to succeed,” she continued. “As a choreographer, I use the sensing body to somatically approach theories I find fascinating in the world. I am especially interested in how bodies interact with one another, how they can support each other to fly, spin, and find themselves upside down effortlessly. I am keenly interested in the effects of the mind, the power of our thoughts, and the ability for change and growth. I would say that my research and choreography seeks to find a sense of hope within a world of chaos.”
The initial vision of moving through included the use of “walls.”
“I couldn’t get the idea out of my mind, and so I finally started looking into building/creating something to fulfil these ideas,” said Moquin. “The material used (a form of Plexiglass) was almost a happenstance. I became fascinated by the translucent quality. I had no way of knowing how this material would have such an impact within our world merely months after creating and premièring the work in March 2020. As I watch this work now, two years later, after a global pandemic, it is almost startling to watch the dancers engaging with these Plexiglass structures.”
The Chutzpah! Festival runs Nov. 4-24. For tickets and the full lineup, visit chutzpahfestival.com or call 604-257-5145.
St. Michael’s Residential School in 2013, Alert Bay, B.C. (Courtesy Hans Tammemagi, from the book St. Michael’s Residential School: Lament & Legacy)
In 1970, Nancy Dyson and her husband, Dan Rubenstein, worked for a short time at the Alert Bay Student Residence, previously and most commonly known as St. Michael’s Indian Residential School. Dyson shares their experiences, with a brief section by Rubenstein, in the book St. Michael’s Residential School: Lament & Legacy (Ronsdale Press, 2021).
“This book is a must-read for all Canadians,” writes Chief Dr. Robert Joseph, ambassador for Reconciliation Canada and a survivor of St. Michael’s, in the foreword. “It is honest, fair and compelling. It is a story that screams out for human decency, justice and equality. It also calls for reconciliation and a new way forward! Two recently wed idealists arrive at Alert Bay on Canada’s Pacific central coast to work at St. Michael’s Residential School. They hire on as childcare workers. Little do Dan and Nancy in their youthful enthusiasm know they will be shaken to the core before too long.”
Yet, despite being shaken, the couple did not realize the extent of the abuse and harm being inflicted on their charges, nor that such abuse was being carried out across the country – and had been since the first schools opened in the 1800s to when the last one closed in 1996.
“In 2015, the Truth and Reconciliation Commission (TRC) Reports were released. Like many Canadians, we were shocked by the findings,” writes Dyson in the introduction. “Over a hundred-year span, thousands of Indigenous children had experienced what we had witnessed at St. Michael’s. Especially shocking were the stories of sexual abuse that had occurred along with the emotional and physical abuse we had witnessed. When we read the survivors’ statements and realized the lasting, tragic legacy of the schools, we felt compelled to share our story.”
The couple does so with the intent to bear witness to the survivors’ experience. “In adding our voices to the voices of survivors,” writes Dyson, “we hope that the history of residential schools will not be forgotten or denied.”
Dyson and Rubenstein were married in March 1970 in Rubenstein’s family home, near the campus of Vassar College, in Poughkeepsie, N.Y., from which Dyson graduated in May that year. A brief series of events landed them in Vancouver, where they decided to stay awhile, because Canada “seemed more benign and compassionate than the United States, which was then severely polarized by the Vietnam War.”
While staying with friends, they learned about openings for childcare workers at the residential school in Alert Bay. Along with one of those friends, they applied for the jobs and succeeded in getting interviews. The school administrator explained to them that St. Michael’s, which had been run by the Anglican Church, was taken over by the federal government in 1969 – this was a national change in policy, because of a Labour Relations Board of Canada ruling a few years earlier that school staff had to be paid as much as government employees doing similar jobs. The churches couldn’t afford the increased costs, so the government took over. Though, as Dyson notes – in dialogue given to the administrator – the churches still had “a strong influence.”
At the time that Dyson and Rubenstein joined St. Michael’s staff, the school wasn’t a school anymore, but a residence, with most of the kids attending public school in Alert Bay and the handful that made it to Grade 9 taking the ferry to Port McNeill for their education. Including Dyson and Rubenstein, there were seven childcare workers for 100-plus kids. Dyson was put in charge of 18 teenage girls and Rubenstein the 25 youngest boys, most of whom were 6 or 7 years old.
From the beginning, even before their interview, as they walk up the concrete steps of the residence, and notice the rusty radiators and drab hallways, they have misgivings. Their friend declined the job offer, but they accepted, thinking “it has to be better than living in the States.”
During their brief tenure at St. Michael’s, they witnessed the brutal treatment of the children, in the name of discipline, as well as the poor food, clothing, shelter and, of course, the kids weren’t allowed to learn anything about their own culture. There were suicides, some girls prostituted themselves, some students took their anger out on their peers.
Dyson and Rubenstein tried to support the kids and did indeed connect with a few of them. The couple tried to force some changes, along with other people in Alert Bay, but there was really no way they could improve the situation. Ultimately, Dyson couldn’t take it anymore and quit. Rubenstein, however, still wanted to try and change things from within, despite having been attacked with a knife by a cook who thought that the Jew among the Anglicans was the Antichrist. Rubenstein was fired from his job after he and Dyson shared their concerns about the residence with government inspectors.
The names of people in the book have been changed and the dialogue is based on memory. Dyson inserts excerpts from the TRC reports into her narrative to reinforce not only what she is saying about St. Michael’s but to show that what was happening there was, sadly and disgustingly, happening at residential schools across Canada.
Rubenstein’s story comes as an epilogue, after a section with some of his photos from 1970/71, as well as a few more recent ones, including of the reconciliation ceremony in Ottawa in 2015. Rubenstein writes about the continuing impact of the residential schools and some of his realizations. He speaks candidly of the difficulties he has in reconciling what he witnessed with the image he has of Canada “as a just and compassionate country.” As well, he admits, “I also struggle to reconcile my own sense of decency with my failure to advocate on behalf of the children after I left St. Michael’s. Like other Canadians – former childcare workers, teachers, administrators, principals, clergy and government officials – I remained silent.”
Dyson and Rubenstein have written St. Michael’s Residential School: Lament & Legacy not only to state publicly what they witnessed and did or didn’t do. They want to encourage other Canadians to join in the process of reconciliation, and offer some ideas for entry points, mainly the TRC reports. The book ends with a quote from the TRC’s final report:
“Reshaping national history is a public process, one that happens through discussion, sharing and commemoration…. Public memory is dynamic – it changes over time as new understandings, dialogues, artistic expressions and commemorations emerge.”
St. Michael’s Residential School: Lament & Legacy is available for purchase at Amazon and other booksellers. In the acknowledgements, Dyson and Rubenstein note that a portion of the royalties received for the book “will be donated to Reconciliation Canada and the Indian Residential School Survivors Society.”
Two of artist Monica Gewurz’s paintings – “Silver Marsh” (above) and “Dawn II” – are featured in the exhibition of the Nature Trust of British Columbia’s Artist of the Year Award. “Silver Marsh” was inspired by a sunset at Addington Point Marsh, one of NTBC’s properties, which aims to conserve waterfowl and fish habitat, and “Dawn II” by a visit to Vaseux Lake in the Okanagan, an NTBC property that protects habitat for bighorn sheep and other threatened species.
Two of artist Monica Gewurz’s paintings have been selected by a jury to be included in the exhibition of the Nature Trust of British Columbia’s Artist of the Year Award. The joint show of the Federation of Canadian Artists and the Nature Trust opens on Oct. 18 at the Federation Gallery on Granville Island.
Before turning her focus to art in the past several years, Gewurz had worked in both the public and private sectors, in areas from commercial real estate to tourism to aboriginal issues. However, art was an integral part of her upbringing in Peru.
Monica Gewurz (photo from Monica Gewurz)
“For my parents, art was as important as science,” Gewurz told the Independent. “My mother was also an artist, and she exposed me to art at an early age – not just Judaica and Peruvian art but also art from different cultures. We traveled a lot. I always enjoyed visiting museums and art galleries. And I always had my camera with me, always took pictures. Landscapes and close-ups, textures and patterns always fascinated me.”
Upon graduating high school, however, she chose a different path.
“In the early 1970s, I was studying to become a veterinarian in Peru. At that time, South America went through some economic and political unrest,” she said. “Peru had a military government, and antisemitism was on the rise. My university was hit repeatedly with strikes and class closures. Getting an education was becoming difficult and dangerous. That was when I decided to move to Canada. With my parents’ financial support, I came alone to continue my studies at the University of Guelph. My parents immigrated later, in 1985.”
After university, Gewurz worked for the Canadian government, but she couldn’t abandon her art. “My photography, jewelry and painting all started as hobbies. I needed an outlet to balance my hectic and stressful full-time job…. In 2000, I started making tribal and sculptural jewelry. I was successful enough to showcase my pieces in national craft shows and then commercially in some galleries, here in Vancouver and in the U.S.”
She knew that most professional artists had formal art education, so she enrolled at Emily Carr University of Art + Design in 2011. “I could study there part-time while working,” she said. “It would also allow me the opportunity to meet other artists.”
She finished her studies at Emily Carr in 2016. Coincidentally, she couldn’t continue at her government job for much longer. “Due to a life-threatening autoimmune illness, in 2017, I had to retire,” she explained. “That gave me the opportunity to embark on a new career as a professional artist.”
Gewurz’s paintings are mostly abstracts, reflecting the landscapes of the West Coast. “The force and energy of water and its associated reflective light, the interplay of shadows and colours in a landscape, have always drawn me in as a scientist and an artist,” she said. “The endlessly changing skies and the patinas of precious minerals mesmerize me. I am fascinated with the contrasting nature of life. I paint it all to provide an escape to a dream-like place.”
Fractals in nature and stylized figures frequently populate her paintings. She doesn’t strive for photographic correctness. “Painting in abstract challenges me to represent reality in a veiled, mysterious and intriguing way,” she said. “Abstraction and the use of texture allow me the freedom to change what I see and feel into my own expression. The artistic process is, for me, one of constant discovery and conversation. The painting speaks to me, tells me what it needs, and I respond.”
Although initially she used brushes, she said, “Lately, I transitioned to using mainly a palette knife and other unconventional tools. As a result, my art became more abstracted and complex.”
She bases her paintings on her own photographs and on her memory; she never paints on location. “I paint from the heart and intuitively,” she said. “I don’t paint anything specific in a landscape and that’s what I love about it – the process of being able to use the paint any way I want. I leave out a lot of visual information. That allows the viewers to use their imagination, to see and describe every painting in their own way.”
Gewurz gifts much of her art to charities and friends. “It is exciting for me to witness the connection some of my ethereal-looking paintings elicit in viewers,” she said. “It humbles me, when people I’ve never met immerse themselves in the layers, shades and textures of my paintings and then share with me how they are seduced into a visual, tactile and emotional response. When such a connection is made, I feel that I accomplished my mission. Of course, the cherry on the cake is when somebody buys a painting and becomes a collector and, many times, a friend.”
She shared one such a case. In 2014, an interior designer from Singapore saw one of her mixed media paintings at an exhibit and contacted her for a commission. The painting was two by two feet, said Gewurz, “but she wanted a much larger one, measuring seven by four feet, for her client, a new five-star hotel in Hong Kong. That was a turning point in my career and a huge jump in scale for me. That painting still hangs in their lobby.”
Mixed media seems to be Gewurz’s preferred style. She incorporates in her pieces ancient and modern materials, such as textiles, sand, rust, aluminum foil, copper and silver. She paints in multiple layers to seduce viewers in visual and visceral encounters. But, whatever the materials, her theme remains predominantly nature.
“Dawn II” by Monica Gewurz
Gewurz’s love of nature led to her involvement with the Nature Trust of British Columbia (NTBC). “I am a donor and volunteer,” she said.
She is also an active member of the Federation of Canadian Artists (FCA).
“One of the main FCA missions is to outreach and raise awareness about conserving the environment and natural spaces,” she said. “Every year, FCA asks their membership to submit a proposal for a show that deals with social and environmental issues. I submitted the idea to have a joint show with NTBC, as they had a common vision, and also to take the opportunity to celebrate their respective anniversaries. Both director boards reviewed and accepted my proposal.”
Of course, she longed to participate in the show as well, since its underlying purpose – the conservation of British Columbia’s endangered habitats – is close to her heart.
“FCA holds several juried shows every year,” said Gewurz. “I regularly submit and often get juried in to showcase in them. This time, I applied as well. I was thrilled and honoured that two of my paintings were admitted. There was a lot of competition.”
Gewurz’s commitment to environmental issues extends beyond her participation in such shows and groups.
“I use upcycled materials in some of my mixed media art,” she explained. “There is beauty in repurposing materials because of their distinctive uniqueness and imperfect textures. Also, the fact of my using them conveys the message to the viewer about the importance of decreasing waste and minimizing our carbon footprint.”
She added, “Art can certainly open people’s eyes to how much our lifestyles imperil the planet. Art could encourage all of us to make positive changes.”
