Editorial in the Jewish Independent’s predecessor, the Jewish Western Bulletin, March 20, 1931.
The JI spoke with four friends of the newspaper from longtime Vancouver Jewish community families about the value and future of a Jewish community newspaper: Gary Averbach, Shirley Barnett, Bernie Simpson and Yosef Wosk. We asked each the same four questions and they replied by email. Their responses are printed below.
Not only are the community members interviewed here longtime Vancouverites but they have been involved in communal life for decades. The announcement on the right is from 1959, and comments on how a group of youth including Gary Averbach brought “AZA No. 119 back to its strength of a decade before.”
GARY AVERBACH
1. Is it important to have a Jewish community newspaper? If so, what are some of the reasons?
It’s difficult to answer this question because it seems so obvious that having a community newspaper is vitally important. We need a forum and a notice board for opinions and events in the community and, if there was not a publication dedicated to providing that forum and bulletin board, our community would suffer an irreplaceable loss.
2. What do you think the JI/JWB specifically has contributed (contributes) to the community?
For the most part, the JI/JWB has always been a bulletin board for the Jewish community, informing us about major – and minor – events and happenings. Whether they be reports on events that have occurred in the community – including the greater Canadian and worldwide Jewish community – or just informing us of births and deaths, b’nai mitzvahs and weddings, or local upcoming happenings. If not the JI/JWB, where would this come from?
3. In what ways, if any, is having a print version of value, versus only having an online publication?
For the next decade at least there will be a demand – albeit likely a decreasing one – for a printed version of the JI. That isn’t so much to provide for the very few people who still don’t or can’t use a computer, but to those of us who still prefer to hold a newspaper in their hands
4. Do you think that a Jewish community paper will be relevant for your grandkids’ kids?
I don’t even know what my grandchildren will be using to access their news in 10 years’ time, never mind what my great-grandchildren will prefer. But I’m fairly certain it won’t be print media as we now understand it. However, that in no way diminishes the need for a community forum and bulletin board giving a Jewish viewpoint on matters of local, national and international events – specifically items that directly involve Jews and, of course, Israel. So, whether it’s an online version, as we now know it, or some further refinement that we can barely imagine now, there will still be a need to inform our local Jewish community by the JI or some similar outlet.
SHIRLEY BARNETT
1. Is it important to have a Jewish community newspaper? If so, what are some of the reasons?
Among Shirley Barnett’s many community involvements is helping Vietnamese refugees come to Vancouver. This article is from June 1984.
Yes, for sure. I would like more reporting of issues in the community rather than just of events.
2. What do you think the JI/JWB specifically has contributed (contributes) to the community?
Exactly that – a sense of community and interaction.
3. In what ways, if any, is having a print version of value, versus only having an online publication?
For me, for sure. I like to read it over a morning coffee, and still cut and clip.
4. Do you think that a Jewish community paper will be relevant for your grandkids’ kids?
Probably not.
BERNIE SIMPSON
1. Is it important to have a Jewish community newspaper? If so, what are some of the reasons?
It is extremely important for the Jewish community, which is spread throughout the province, particularly the Lower Mainland, to have a Jewish community newspaper. There is no question that the viability of printed media has been affected by easy access to online papers, however, it is noted that just about every ethnic community in British Columbia still has printed media, which is read primarily by the older generation.
This article from 1959 is but one of many recording Bernie Simpson’s participation in Habonim and other community organizations, including the Jewish Western Bulletin.
For example, in the Indo-Canadian community there are at least one dozen papers, half of which are in Punjabi. However, two of the most prominent papers, the Voice and the Link, have been in existence for more than 30 years, and are able to attract substantial advertising and are thriving within the community.
The Korean community has at least six papers, primarily in Korean. The Vietnamese community has at least four papers. The Chinese community has a countless number of newspapers, which attracts readers from the various regions from where the Chinese community has come, including Taiwan, Mainland China and Hong Kong.
Admittedly, however, those communities have far more significant numbers than the Vancouver Jewish community, and that may be the reason why those papers are more economically viable.
The Jewish community newspaper, by definition, helps promote a community by giving news as to various events that are happening, not only in Vancouver but in outlying areas.
It is also a vehicle to announce important fundraising activities and to give proper recognition to those who are honored in the community.
The reporting of international news particularly as it relates to Israel is important, and also the editorial content. I believe that we are fortunate in having editorial content that is objective. The letters to the editor, by and large, are articulate and represent, on occasion, a different view than the mainstream Jewish community may have, particularly with regards to Israel, and this view should be welcomed as it serves as a catalyst for thoughtful thinking on sensitive subjects.
The stature of the Jewish community would be diminished considerably in the eyes of the non-Jewish community if there was not a Jewish community paper. There is still the view that the Jewish community is well organized, speaks with one voice on contentious issues, is socially active in liberal causes and even responds to tragedies throughout the world, and I would think that the image of the community will be tarnished considerably if a community paper did not exist.
2. What do you think the JI/JWB specifically has contributed (contributes) to the community?
To a certain extent this question is partially answered by my response to Question 1.
I believe that this paper helps keep the community focused and together, and it takes into consideration all aspects of the political spectrum as it relates to the three levels of government and objectively reports what is happening in Israel.
We are indeed fortunate to have the publisher (working with various editors), who is an outstanding journalist as is evident by the many awards that the Jewish Independent has won.
If it would happen in the future that the Jewish Independent did not exist, then that void very well could be filled with a community publication that lacks the objectivity that the present Jewish Independent has. For a brief period of time several years ago, such a paper did exist, and it was quite clear what the agenda of that paper was. In the Jewish Independent’s small way, it does help the debate with regards to the peace process in Israel between the Israelis and the Palestinians and the concept of a two-state solution.
3. In what ways, if any, is having a print version of value, versus only having an online publication?
I think, at this point, the majority of the readership are still of the generation where they don’t naturally gravitate every day to their computer or their mobile to see what news comes out this week in the Jewish Independent.
Longtime members of the community have had ingrained in them that towards the end of the week, the Jewish Independent will arrive. It often stays around the house until the next edition. I would think also that it would be harder to get advertising revenue if you’re only online.
4. Do you think that a Jewish community paper will be relevant for your grandkids’ kids?
Frankly, I’m not terribly concerned about the answer to that question, nor is it really relevant to the present situation. I am a senior member of the Jewish community now; my grandchildren are 6, 3, 2 and 1. It’s impossible for me, who on my best of days has difficulty directing my attention to the immediate past, to focus on whether the paper will be relevant for my grandkids’ kids, which would be around 30 years in the future.
I don’t think that we should be too concerned about that question, but what we should be concerned about is how we can make the Jewish Independent more economically viable.
One obvious answer is an increase in subscriptions. Perhaps, an active volunteer campaign could be conducted by members of the community to try to sign up more subscribers. This will make it easier to get advertising revenue.
It may be that there should be “an advisory board” set up to advise the present publisher as to how to make the paper more attractive to advertisers and to readers.
There is a great deal of talent within the Jewish community (well-known reporters who are still active, retired reporters with national papers, etc.); this is a resource that perhaps should be called upon.
Also, an advisory committee of individuals – businesspeople – can lend help financially, if the situation arises.
RABBI DR. YOSEF WOSK
1. Is it important to have a Jewish community newspaper? If so, what are some of the reasons?
Yosef (“Jerry”) Wosk’s decision to donate funds to Vancouver Talmud Torah on the occasion of his bar mitzvah in 1962 drew the attention of editor Sam Kaplan.
Yes, I feel it is important to have a community newspaper. It helps to gather and focus information about the extended family that is the community. It covers diverse topics, such as social events, politics, education, births and deaths, special interest groups, as well as emotional and intellectual concerns.
2. What do you think the JI/JWB specifically has contributed (contributes) to the community?
The newspaper has tried to be a neutral newsgathering and dissemination site. It carries articles that represent the full spectrum of the community, thereby fostering information and conversation.
3. In what ways, if any, is having a print version of value, versus only having an online publication?
The value of a print edition is that it can be read on Shabbat, it is easily accessible to everyone, including technophobes. It is always open and easy to read. Articles can be cut out and distributed. Having a hard copy on your desk or table gives it an immediate physical presence and material voice. In addition, a newspaper or magazine laying around in a public common area or even in a private home will attract readers who may not open an electronic device and search for a particular media address. The electronic edition may provide a number of supplementary links and also be available through a quick search, but it does not negate the value of a printed edition.
4. Do you think that a Jewish community paper will be relevant for your grandkids’ kids?
Who knows? However, newsgathering and dissemination in one form or another has always been of interest to the human condition and, so, I project that a community newspaper will still maintain its value in the future.
The Feb. 5, 1931, editorial, “A cultural program,” in the Jewish Western Bulletin laid out some of the hopes, dreams and challenges to the beginnings of organized arts and cultural programming in the Jewish community of Vancouver. In many ways, today’s challenges echo the challenges of 84 years ago: arts and culture requires participation and support. They also require belief; belief that they form the bedrock of any healthy, sustainable community and are a way to celebrate and connect to the past while envisioning a brighter future.
The JI spoke with the directors of five mainstays of the local Jewish arts and culture scene in 2015 – the Cherie Smith JCC Jewish Book Festival, Chutzpah!, the Sidney and Gertrude Zack Gallery, the Vancouver Film Centre and the Vancouver Jewish Folk Choir – and asked them the same five questions. Their responses follow.
CHERIE SMITH JCC JEWISH BOOK FESTIVAL Nicole Nozick, director
1. Could you give a brief history of your organization?
The JCC Jewish Book Festival (JBF) was founded in 1984 by a small group of book club friends led by Vancouver writer and publisher Cherie Smith. The group decided to create a forum to showcase Jewish writers to Vancouver audiences. After Cherie passed away, the Smith and Rothstein families established an endowment fund in her honor to support the festival in perpetuity and placed it under the stewardship of the Jewish Community Centre of Greater Vancouver.
The first book festival, Jewish Western Bulletin, May 1984.
The JBF – which celebrates its 31st year this November – has grown into a literary event of some magnitude, featuring award-winning international authors, showcasing Canadian writers, supporting local authors and publishers, and encouraging a love of reading across all generations. Despite its exponential growth, the JBF has not lost sight of its original core values and mission. The mostly volunteer-led operation echoes the passion of its original founders, many of whom continue to attend and support festival events to this day.
2. When did you become involved with it and what drew you to it?
I have always been an avid reader and, at a very young age, I recall making a solemn declaration to my classmates that “books are my best friends.” To this day, you’ll never find me without a book in my bag to keep me company wherever I may be. When the position of festival director presented itself in 2008, it was the perfect opportunity to marry my professional experience in management and production with my passion for reading and writing. Equally important, the part-time hours of the position allowed me to have the time I wanted to be with my young children.
3. What are some of the ways in which your organization has contributed to the community over the years? ie. Why is it important for the community to have/support?
As bearers of the auspicious moniker “The People of the Book,” it is hardly surprising that literature plays such a significant role in the Jewish community, and our Vancouver Jewish community has shown itself to be more erudite than many in North America. The Vancouver JBF is on an equal footing in terms of participating authors, events, duration and audience as festivals from much larger Jewish communities, including Atlanta, Houston and San Diego. Further, the Vancouver JBF far exceeds other Jewish book festivals in Canada such as Toronto, Winnipeg and Calgary in its scope, outreach and operations. This is testimony to our community’s passion for literature and learning, and the arts.
It has been a pleasure to introduce our already well-read audiences to new writers – and to welcome old favorites. The festival’s focus on Israeli writers has had an important impact not only on our Jewish community but has had far-reaching impact on the community at large – both in Vancouver and across Canada. Etgar Keret, one of Israel’s foremost “new generation” writers credits his appearance at the JBF and subsequent interview broadcast on CBC’s Writers & Co. with his increasing success in Canada and sold-out speaking engagements in Toronto and Ottawa. (Keret will appear at the 2015 Vancouver Writers Festival.)
4. What are some of the challenges in keeping it going? Are there specific ways in which community members could help with those challenges?
The book publishing world has gone though unprecedented change and upheaval in recent years. Increasingly, sophisticated technologies that introduced us to tablets, smartphones and e-readers have taken a heavy toll on the simple pleasure of reading a book. In this new age of shortened attention spans and 140-character communication, fewer and fewer people are making the time and applying the focus required to read a book. This is evident not least in the closure of countless bookstores and the bankruptcy of many publishing houses. One of our most important challenges at the JBF is to keep books and reading relevant not only to our current society but to generations to come.
The JBF has adapted to these changing circumstances in order to remain current and vital. Examples include collaborating with Chapters/Indigo to introduce e-readers to our bookstore, changing the scope of the bookstore’s inventory, creating new programs that incorporate digital technology. The JBF also incorporated emerging technologies to showcase international authors: for example, Etgar Keret, whose opening night gala interview was presented via international video-conferencing.
Of course, other important issues such as budget constraints have a detrimental effect not only on the JBF but on many arts and culture organizations. In times of economic uncertainty, arts organizations often bear the brunt of decreased funding, as both government and private sector funding is impacted. At the JBF, we are very blessed to be supported by a loyal and strong donor support base who recognize the crucial role literacy and literature plays in our society. This generous base has helped to keep the JBF sustainable.
5. What are some of the benefits, in your opinion, of the arts in general and why it’s important to have arts and culture in one’s life?
Without the magic of art and culture in our lives, the world would be a drab and dreary place, indeed. Though misquoted, the great bard, William Shakespeare, declared that “music is the spice of life,” and he was right – though certainly his reference was to all of the arts. Reading a good book opens our minds to new worlds, feeds our souls, impacts us in the way that little else can.
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CHUTZPAH! FESTIVAL AND THE NORMAN AND ANNETTE ROTHSTEIN THEATRE Mary-Louise Albert, artistic managing director
1. Could you give a brief history of your organization?
The Norman and Annette Rothstein Theatre (NRT), housed in the Jewish Community Centre, is a professionally equipped 318-seat performing arts proscenium theatre. It was established to enhance the cultural life of both the Jewish and general communities and is one of the Lower Mainland’s few mid-size proscenium theatres. The annual Chutzpah! Festival, Chutzpah!’s Creation Residencies, workshops for urban and rural youth and young adults program and Chutzpah!PLUS are our main professional programming activities.
Part of an ad in the JWB, February 2001. Current Chutzpah! Festival director Mary-Louise Albert is the dancer featured.
The Chutzpah! Festival, established in 2001 and named in honor of the late Lisa Nemetz, is one of the most respected international festivals in B.C. and Canada. Chutzpah! is known for presenting world and Canadian premières; supporting the creation of new work by way of multi-week dance residencies in the NRT with confirmed presentation of the residency work; and 2015 brought satellite dance festival residencies, youth workshops and performances to the North Island region of B.C., an exciting area of program growth and outreach.
2. When did you become involved with it and what drew you to it?
My first involvement in the Chutzpah! Festival was performing in the very first Chutzpah! in 2001. The founding artistic director of the festival, Brenda Leadlay, also put me on the poster. I was a professional dancer for over 17 years, and, after my second child was born, I left company life and freelanced as an independent dancer doing project and solo work, mainly. My company years had been with Anna Wyman Dance Theatre, Karen Jamieson Dance Company, Judith Marcuse Dance Company and apprenticing with Les Grands Ballet Canadian. My show in the inaugural Chutzpah! Festival was a shared evening with Toronto’s Kaeja d’Dance.
Shortly after this performance, I transitioned out of dance and studied arts management and business administration at Capilano University and BCIT. About a year after graduating from BCIT with a post-diploma of technology in business administration, the JCC hired me as the artistic managing director. My first Chutzpah! Festival as the AMD was the 2005 one, and I will never forget the fun photo shoot with Boris Sichon as the photographer snapped (I’m revealing my age) away for that year’s perfect poster image.
3. What are some of the ways in which your organization has contributed to the community over the years? ie. Why is it important for the community to have/support?
For the past 10 years, Chutzpah! has been programming Israeli artists to the point where they make up the most numbers of our international artists. The importance of connecting Israeli artists to B.C. (and in most cases to Canada for the first time) helps develop an understanding of Israeli culture and the amazing complexities of its arts.
The exciting and entertaining multifaceted ways the performing arts accomplishes this understanding of Israel is a mainstay of the festival. No other festival in Canada programs the range or number of artists from Israel as we do. We have brought known artists and large groups such as Batsheva Dance Company, Kibbutz Contemporary Dance Company, Balkan Beat Box and the Idan Raichel Project, which we have presented in progressively larger productions. Many of our Israeli artists have been unknown to Canadian audiences, but we have still given these eclectic talented performers the opportunity to tour internationally, such as with Idan Sharabi and Dancers, Zvuloon Dub System, giving Yemen Blues and Maria Kong their first North American shows, Ish Theatre, Dudu Tassa, Itamar Boracov, Uri Gurvich and many more.
These artists perform in our home, the JCC, in the Rothstein Theatre, as well as off site and out into the general community. It is a sharing of Jewish arts and culture with the Jewish and general communities. The Lower Mainland Jewish community is integral in helping us with this and the loyalty of the Jewish community and its willingness to take a chance with artists they don’t know is so appreciated and keeps us going. When I looked out into the audience of our Chutzpah!PLUS concert with Ester Rada at the Imperial this year, my heart melted as I saw so many familiar faces. We can’t do what we do without this support.
Another area we are proud of is our commitment to programming world premières by B.C. artists, as well as our multi-week Creation Residencies. Supporting artists this way is paramount to artistic growth. This past year alone saw three world premières by B.C. artists and the year before we had three, as well.
4. What are some of the challenges in keeping it going? Are there specific ways in which community members could help with those challenges?
One of the biggest challenges is that with a festival the size of Chutzpah!, most artists (and, in particular, international artists) have to be programmed and committed to before most granting and donation revenue is secured, often one or two years in advance. Maintaining and increasing corporate and donor sponsorship is important to the sustainability of the festival. We have yearly support for our programming from government funders, such as Canada Council for the Arts and Canadian Heritage. A challenge is that we are a Canadian festival that programs many artists from another country, Israel. We are very grateful for annual support from the Jewish Federation of Greater Vancouver and the Israel Consulate, for instance, who help us with expenses relating specifically to our Israeli programming, as they know how important our Israeli programming is to the community. And … the community helps us so much by attending shows!
5. What are some of the benefits, in your opinion, of the arts in general and why it’s important to have arts and culture in one’s life?
The arts engage on multiple levels, such as opening up new dimensions and developing creative expression as a stimulus for spiritual and ethical understanding. Exposure to the performing arts allows for the nurturing of inventiveness as a tool to develop self-discipline, self-motivation and self-esteem. Participating in artistic activities helps to gain the tools necessary for understanding the human experience, adapting to and respecting others’ ways of working and thinking, developing creative problem-solving skills, and communicating thoughts and ideas in a variety of ways.
The strength of Jewish arts and culture embraces and promotes the blossoming of divergent forms and points of view, and shares it with audiences from diverse communities. Many Jewish artists connect us to the differing aspects of the Jewish Diaspora. Exploring beautiful tensions and contradictions in these juxtaposed, but parallel, experiences helps feed a rich and engaging life.
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SIDNEY AND GERTRUDE ZACK GALLERY Linda Lando, art gallery director
1. Could you give a brief history of your organization?
The gallery began as the Shalom Gallery in the Jewish Community Centre; the then size of the gallery was 19’ by 40’ (760 square feet). The current size is 22’ by 40’, with excellent lighting and a high ceiling with skylights.
The Zack Gallery started life as the Shalom Gallery, JWB, May 1982.
In 1988, the gallery received a donation from the Sid and Gertie Zack family, and the gallery was renamed the Sidney and Gertrude Zack Gallery of the Jewish Community Centre of Greater Vancouver. At that time, the gallery was designed as part of the overall Phase II renovation project of the JCC.
The gallery has as goals: to create and promote a gallery of stature in which only high-calibre artwork (in all media) is shown, featuring artists of local, national and international reputation; to encourage the serious Jewish artist; to promote understanding of contemporary artistic concerns; and to participate in multi-cultural events.
2. When did you become involved with it and what drew you to it?
I have been an art dealer with a gallery presence in Vancouver for 30 years. It was time for me to make a change in my life, to have less responsibility and to become more a part of the community. At one time, I was a board member of the JCC and I was on the Zack Gallery committee for many years, as well, so I have always been drawn to the JCC and the gallery. As you can well imagine, I am very comfortable running the gallery, dealing with artists, having openings, etc.
3. What are some of the ways in which your organization has contributed to the community over the years? ie. Why is it important for the community to have/support?
The Zack Gallery opened with a group show, JWB, June 1988.
The Zack Gallery has supported Jewish artists for many years. There have been shows that relate specifically to Jewish and or Israeli themes, as well as shows by Israeli artists. The gallery is a venue for Jewish artists who are not necessarily mainstream to show their work. It is unique in the city. It is important to support the gallery, as arts and culture are a huge part of the glue that holds the community together.
4. What are some of the challenges in keeping it going? Are there specific ways in which community members could help with those challenges?
Artists are always underfunded/underpaid. Part of the cost of having a show falls upon the artist. Funding is always a challenge.
Community support would be wonderful. I would be happy if more people supported the gallery by coming to the many openings, talks, poetry readings, etc. That would be very satisfying.
5. What are some of the benefits, in your opinion, of the arts in general and why it’s important to have arts and culture in one’s life?
As I stated, arts and culture are community glue. They bring together artist and patron, student and teacher, ideas and realization. Creativity is what is left when there is nothing else.
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VANCOUVER JEWISH FILM CENTRE Robert Albanese, executive and artistic director
1. Could you give a brief history of your organization?
Jewish films were first brought to Vancouver [by what is now known as the Vancouver Jewish Film Centre] under the umbrella of the Jewish Festival of the Arts, a community organization that was founded in May 1984. Films were sought out that showcased the diversity of Jewish culture, heritage and identity. In 1988, the Festival of the Arts morphed into the Vancouver Jewish Film Festival and, as demand from community organizations for Jewish film grew beyond an annual festival, the name was changed in 2013 to the Vancouver Jewish Film Centre to better reflect the breadth of offerings presented year round.
2. When did you become involved with it and what drew you to it?
In 2009, I was approached by the CEO of Jewish Federation and asked to take a meeting with the executive committee of the board of directors of the Vancouver Jewish Film Festival. The board was conducting a search for a new executive director.
The Jewish Film Centre developed out of the Jewish Festival of the Arts Society, JWB, February 1989.
At the time, I had held the position of director of exhibitions for the Vancouver International Film Festival for the previous 10 years. I had also been a general manager for Cineplex Entertainment. I was a successful photographer with a background in film-set photography and had previously been the managing director of Montreal’s premier repertory cinema.
The offer from the board of the Jewish Film Festival would allow me to bring to the organization 30 years of professional experience in all aspects of the film industry. In addition to the executive director position, I would also be their artistic director. The opportunity to make a difference, to contribute to the arts in our community was the “icing” on a long career in the film business. The added opportunity to grow the organization was a challenge I was eager to undertake.
3. What are some of the ways in which your organization has contributed to the community over the years?
The film centre has held an annual Vancouver Jewish Film Festival for 27 years; it is the longest-running Jewish film festival in Canada. We have engaged our community by bringing the best quality films that inspire, entertain, educate and connect us to the diversity of Jewish culture. The Vancouver Jewish Film Centre was founded to preserve and showcase our Jewish culture, heritage, identity, and we reach all members of the community. Our annual film festival is presented in a mainstream cinema, a secular environment, and is open to all who want to attend. It is a major social event that brings the community together. Film is the most reasonably priced form of cultural entertainment available today.
Film accesses and engages the broadest community. We are deeply committed to outreach and we work tirelessly with community organizations to bring films to their stakeholders. Generally speaking, the film centre is an organization with the potential to reach the whole Jewish community.
It’s Jewish continuity through storytelling in today’s visually oriented world.
4. What are some of the challenges in keeping it going? Are there specific ways in which community members could help with those challenges?
The film exhibition industry has changed dramatically in just a few short years. Everything is now digital, and the technology required for state-of-the-art presentation is very expensive. Film costs and venue rentals have risen through the roof; movie theatres with the proper screening equipment are in short supply. In spite of all of this, we have responded to the increased demand for more film presentations from our greater Jewish community. We travel to community organizations with projector and screen in hand to bring the films directly to them. We are co-presenting Victoria’s first Jewish film festival this November. We are facilitating film with the Okanagan Jewish community. We’ve facilitated numerous fundraising film events throughout the community for Jewish organizations of all kinds. All of the above means increased costs for us at the same time that our community in general is faced with aging infrastructures with large capital campaigns in place. That often means cultural entities are left struggling to attract funding from the community, funding required to keep us vibrant and relevant.
Our attendance has been growing year over year and is a direct result of the quality of both the films and the presentations. However, since relocating the annual film festival to the Fifth Avenue multiplex cinema we’ve seen a number of community members walk by our screenings to attend a “Hollywood” film in the next auditorium. The most obvious way to help is to attend the films we present; the old mindset of what constitutes a Jewish film no longer applies. The films we present are world class and just as good, if not better, than any other film showing in that multiplex today.
We always welcome more help from volunteers. Assisting us to bring our offerings to the community is a real way a community member can help.
Finally, we are soon launching our first-ever endowment campaign with matching funds from dedicated donors. We hope and trust the rest of our community will support this effort.
5. What are some of the benefits, in your opinion, of the arts in general and why it’s important to have arts and culture in one’s life?
There is a mountain of documentation from researchers all over the world about the benefits of having art and culture in one’s life. In my opinion, in the case of the Jewish Film Centre, we bring people together. Film opens a dialogue where none may have existed before. It can fill us with pride, self-esteem; it can literally break down barriers by allowing us to experience the life of the other. Film can help foster a sense of belonging and pride within a community. Film can preserve a collective memory and foster a continuing dialogue about the past.
The Vancouver Jewish Film Centre exists for this, we convene an inclusive community that celebrates, educates, entertains and inspires through thought-provoking films. We present the stories about the many diverse aspects of Jewish life. We aspire to be a cultural organ of the Jewish community in Vancouver, in British Columbia, and to act as a repository of culture for future generations.
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VANCOUVER JEWISH FOLK CHOIR Donna Modlin Becker, program coordinator, Peretz Centre for Secular Jewish Culture
1. Could you give a brief history of your organization?
The Vancouver Jewish Folk Choir of the Peretz Centre for Secular Jewish Culture was founded in 1980 by conductor/arranger/ composer Searle Friedman with the aim of keeping Jewish music alive and educating both Jewish and non-Jewish audiences to a world cultural treasure. The choir has about 25 members, both adults and seniors, and at present performs between eight and 10 times per year, both at the Peretz Centre and at venues within and outside of the Jewish community.
2. When did you become involved with it and what drew you to it?
Vancouver Jewish Folk Choir third season ad in the JWB.
In the late 1990s, I was looking for a choir to join, and found the Vancouver Jewish Folk Choir. I was excited to be singing in Yiddish, which I grew up surrounded by, and pretty quickly felt very at ease with the other choir members. The older people reminded me of the grandparents I lived with growing up in a Jewish community in Brooklyn; politically, and in many other ways, I was very culturally comfortable in the choir. And it gives me great pleasure to be singing in the language of my ancestors – I feel I am honoring them with my music. And I love the beautiful minor mode of so much of the repertoire.
3. What are some of the ways in which your organization has contributed to the community over the years? ie. Why is it important for the community to have/support?
Some of the ways in which the choir has contributed to the community, in no particular order:
• Thanks to founder Searle Friedman and current director David Millard, the choir is keeping the Yiddish repertoire alive. (Not only to entertain the old people, but also for the sake of future generations, I think keeping our Yiddish roots alive and visible as long as possible is hugely important.)
Both Friedman and Millard have arranged traditional and contemporary Yiddish music (and other Jewish music) for choir. Over the years, the choir has focused more and more on Yiddish, and exposed audiences to a wide variety of songs in that language, as well as major works by Srul Irving Glick, Mordecai Gebirtig, Max Helfman and others.
• In addition to regular performances at the Peretz Centre, which include holiday celebrations and an annual major concert, the choir also performs a Chanukah concert annually at two seniors homes – the Louis Brier and South Granville Park Lodge. In the last few years, the choir has also performed its Pesach repertoire at the Louis Brier. We hear from the people who work with the residents at both venues that many people who are very cognitively impaired in other areas can still relate to music, and people who can no longer speak are still able to sing. The joy we feel in the audience at the Louis Brier as we offer them songs both familiar and new is palpable.
• The choir gives people who like to sing a chance to sing in some of the languages of our people – Yiddish, Hebrew, Ladino and English – and an opportunity to socialize with other people who also enjoy singing this music. Many of the people in the choir have no other connection to the Peretz Centre.
• The choir has also performed at other venues, such as the Jewish Community Centre, the Richmond Seniors Centre, CityFest, VanDusen Festival of Lights, and the Federation of Russian Canadians. In this, we provide an outreach to the broader community, and expose wider audiences to Jewish music beyond modern Israeli or religious music or klezmer.
4. What are some of the challenges in keeping it going? Are there specific ways in which community members could help with those challenges?
The main challenge is cost. At present, the conductor, accompanist and three section leaders are paid on a weekly basis. We often have to hire additional voices for major concerts, as well.
Two major ways that community members could help with those challenges: join the choir, and come to the concerts! Another way: write support letters that the choir can use in grant applications.
5. What are some of the benefits, in your opinion, of the arts in general and why it’s important to have arts and culture in one’s life?
I touched on some of this previously in regards to stroke victims and other cognitively impaired people responding to music long after they are no longer able to respond to other forms of communication. But, in more general terms, what would life be without arts? The question is so huge; all I can think of to say is: “Hearts starve as well as bodies, give us bread but give us roses, too.”
It is with warm memories and appreciation that I reflect on the opportunity I had from 1970 through 1985 to serve, at different times, as the Jewish Western Bulletin’s editorial assistant, city-desk editor and assistant editor – all the while helping report on the world’s ongoing number-one story: the Middle-East situation … and the Jewish people, their survival, culture, religion and history.
The Greater Vancouver and B.C. Jewish communities were growing rapidly during those years and its diverse members – with, at that time, no internet, email or 24-hour all-news TV channels – primarily looked to the paper as a key source of information for major local, national and international Jewish issues and stories.
Bringing those stories to Bulletin readers during those pre-computer days, with its absence of word-processing and page-layout software, was often a very arduous endeavor, with copy that had to be typewriter-written and then often retyped, and pages that could only be slowly hand-designed. Additionally, the then standard usage of large linotype printing machines (running in the back of the Bulletin offices, and operated by four persons) resulted in a much longer and more involved production process than the one found today, where late-breaking stories can be readily included using digital technology.
Description of Bob Markin, JWB, 1970.
Guiding the paper with excellence were the exceptionally dedicated and talented publishers and senior editors, Sam and Mona Kaplan. One goal was prevalent in all of the JWB’s undertakings during those years: to extensively and objectively cover important news and issues that affected the well-being and life of the Jewish people; to serve and advance, as best as possible, the B.C. and Canadian Jewish community, its individuals and organizations and, of course, Israel and world Jewry.
In serving the community, the Bulletin often focused on supporting Zionism, alerting the readership to antisemitic threats and incidents, and reporting on immigration issues. Readers could regularly find wide coverage of local community events and organization happenings, feature articles on community issues, in-depth profiles of local personalities and leaders, etc…. and the Lazar (Between Ourselves) column, with its breezy, informal style of “breaking” community news-gossip, was usually a must-read for JWB readers.
The culture scenes were far from neglected, with reporting by theatre, art, music and, yes, Jewish stamps, columnists and reviewers. The full-range of lifecycle milestones, such as births, b’nai mitzvahs, engagements, weddings and obituary announcements, were regularly printed.
Jewish news from across Canada and worldwide was extensively covered, with emphasis, of course, on the ever-changing situation in Israel and the Middle East, as well as the special plights at that time facing Soviet Jews and Ethiopian Jewry.
Throughout my 16 years at the paper, I found that participating in each issue’s production was truly an ongoing highlight, resulting in a strong feeling of exhilaration as the approaching deadlines brought with them an intensity in office visitors, copy submissions, planning, writing and editing, phone calls, the sounds of typesetting, etc. Other memorable times included the privilege of meeting visiting and local VIPs for stories and feature profiles, and taking part in a special Jewish Agency-sponsored tour of Israel for North American Jewish journalists, during which participants met many key leaders.
The staff always came through. When heavy snows closed offices around the city, we were at the JWB ensuring that the paper got out. When postal strikes thwarted distribution, we made arrangements for copies to be picked up, free of charge, at key community locations. And when large holiday editions saw production-time pressure, the typesetters would work all night to make sure that the paper would be in readers’ hands on time.
The Bulletin always respected the challenge of objectively and completely reporting on the full spectrum of what was happening in the Jewish world.
It was very interesting, challenging work and an utmost privilege and pleasure to work with this wonderful community.
A singles ad placed in the Bulletin by father-son team Ron and Steve Freedman in 1992 led to the engagement (in 1997) of their son/brother David to Betty-Mae Coblenz, who were married in 1998.
Ron Freedman, who passed away in December 2014, worked for the Jewish Western Bulletin / Jewish Independent for 46 years. As we mourned his loss with his family at a ceremony celebrating his life, his son David shared the story of how his father and his brother Steve, who has worked at the paper for more than 30 years, used the power of community media to change his life.
As Alex Kliner explained in his May 15, 1998, Menschenings column:
“David Freedman was baffled. Three young women had responded to his personals column ad in the Jewish Western Bulletin. But wait! He had never placed an ad. But whatta ya’ gonna do? His curiosity was aroused. So he agreed to meet Betty-Mae Coblenz for coffee. They talked for hours. Not long ago, Betty-Mae Coblenz became Betty-Mae Freedman.
“And the mysterious ad? It seems David’s dad, Ron, and brother, Steve, (both JWB staffers) had placed it in the personals under David’s name. It was a joke! Not a bad joke, eh? And what’s more, it obviously pays to advertise in the JWB!”
When counting blessings, our community has much to celebrate. If proof were needed, there is plenty at the newspaper. Not only have we been sorting through 85 years’ worth of the Jewish Independent in preparation for our special anniversary issue next week, but we joined hundreds of other community members this past Sunday to mark three significant community milestones.
In the early afternoon, a remarkable event took place at Mountain View Cemetery. The city-owned burial site has, since 1892, included a small section consecrated as the Jewish cemetery. In recent years, that section has declined. A dedicated group of volunteers set about to return it to the stature it deserves and, on a very sunny Sunday, the community gathered to see the results and celebrate the place. There was, it’s not inappropriate to say, a sense of festivity mingling with the solemnity of the event. While we were marking the rededication of a Jewish cemetery, we were also explicitly honoring and celebrating the lives of the people who built this community – and all those who are working to maintain and grow it.
Later that day, Temple Sholom held a siyum hasefer, marking the completion of a new Torah commemorating the congregation’s 50th anniversary. This “Torah of volunteerism,” in which the hands and spirits of so many people are ingrained in its beauty, is another symbolic and tangible act uniting the past, present and future of our community.
The day’s festivities drew to a close at the new Beth Israel, one of the oldest congregations in our community. The rebuilt synagogue provides some of the city’s best new meeting spaces and, in this case, we celebrated one of Judaism’s greatest achievements – well, of the modern era, at any rate. Canadian Friends of the Hebrew University, Vancouver chapter, convened an evening of education, entertainment and tribute in honor of that institution’s 90th anniversary.
It is hard to overestimate the impact of Hebrew University on the modern life of the Jewish people or of Israel. Founded by luminaries, including no less than Albert Einstein, it is a monument to the Jewish commitment to learning. However, to call it a monument is almost an aspersion, because it is an organic microcosm of Jewish life – and, as Jewish life has been throughout the ages – a light to the nations, welcoming scholars from around the world.
Attending these three milestones was affirming in several ways. It was a reminder of just how many people – of all walks of life, ages and affiliations – are dedicated to this community, working to make it better and trying to make sure that it has a future. It was also a reminder that, while the internet has its many advantages, there is something very special and irreplaceable about tangible records. There is something very special and incomparable to sharing a moment – joyous or sobering – with other human beings.
Headstones in a cemetery, a Torah scroll, the pages of a newspaper – they physically mark the path on our way long after we’ve made our way. We can touch them, which somehow connects us to them and each other in a way that cannot be reproduced in the virtual world. Laying a stone on a grave, scribing or reading from the Torah, even flipping through decades-old copies of the community newspaper – these present-day acts place our lives solidly in the continuum of humanity. This is both humbling and reassuring.
As we celebrate the minor miracle of the newspaper’s presence in and contribution to the community for 85 years, we are proud, not only of our own accomplishments, but those of the entire community. Together, may we go from strength to strength!
I was barely 18 when I found myself sitting in the airport in Riyadh, Saudi Arabia, petrified that despite my false Turkish papers, I would be discovered, and returned to Iran to face execution. My forged Turkish passport had brought me to the airport in Saudi, but I spoke not a word of Turkish. I sat in the huge terminal in Riyadh, hungry, thirsty and terrified.
I had finally boarded the Montreal-bound Air Italia flight after three abortive efforts but fate had me in its thrall. One of the airhostesses was Turkish: I was terrified that she would realize that the thin girl masquerading as Turkish could speak not a word of her language, and then inform the captain of the ruse.
At age 13, my passion for social justice led me to defend a Baha’i schoolmate from a bully with Hezbollah connections. While I was surprised that my defence of a friend resulted in my suspension from school, I never dreamed that a spontaneous, spirited comment would lead to my flight.
I am a proud Shirazi woman, and my family can trace our roots back 2,500 years, back to the Babylonian exile. But in the late 1970s, when I was only 13, I joined university students as they protested for freedom: I desperately wanted to read books banned by the shah. I craved freedom as a bird craves flight, but after over a year hiding from Hezbollah, my mother made me realize that to find a life for myself, I first had to court death.
During my time in the desert, I experienced events that made me believe strongly in my faith. My flight was provoked by my defence of a Baha’i friend but it was a Muslim woman who informed my mother that I was blacklisted and a Pakistani border guard who saved me from the smugglers who were swindling me, and ensured that I did not die in the desert.
I had been told that the desert crossing would consist of a short walk and a five-hour journey by car. It turned out to be a forced march of 20 hours across the Kavir-e-Loot desert, and hours of terror as a dozen or more Afghani extremists passed inches away, on the other side of a small sand dune on their journey to join Hezbollah in Iran. They cried out, “Allahu akhbar!” God is great! I was 17, heartbroken at leaving my mother and home. I hope to never again experience the depth of despair that I knew that night as I lay, pressed into the sand beside the smugglers.
But if my desire for freedom and justice had led me into the desert, it was the contrast between the depth of my despair and the sight of the stars so far away that inspired me to this very day. I knew that my distant ancestors had crossed another desert under those same stars and I felt that if I fell down, I would just have to get back up. That philosophy helped me persevere through uneasy days in Pakistan, that terrible flight to Riyadh and further, into my life in Montreal.
I had to leave Iran because I wanted the taste of freedom on my lips, because a life lived in fear is not a life at all, and because only freedom allows the human being to carve out a life of meaning. I knew then and know now that my message of hope, faith and perseverance is important and compelling.
We are all sisters and brothers under our skin. Whether we cover our heads or whether our hair is loose, we are all God’s children and fate’s playthings.
At Israel’s Yom Ha’atzmaut celebration marking the 67th anniversary of the state of Israel, one of the 14 individuals selected for the honor of lighting torches kicking off the celebration was Lucy Aharish, a television newscaster and actor who happens to be an Arab citizen of Israel.
Of course, “happens to be” is an obfuscation given the charged nature of life in Israel and its region. The fact that she is an Arab citizen of Israel is not at all an insignificant fact. That, certainly, was the opinion of critics from across the political spectrum when it was announced that she would be among those centre-stage at the annual Independence Day ceremony at Mount Herzl Cemetery.
Her participation in the ceremony was politicized by both left and right – by the right for reasons that can hardly be described as anything but racist and by the left for reasons that seem based on the assumption that any Arab who participates in an official Israeli ceremony is a collaborator with some sort of Zionist … whatever.
Hopefully, the critics were schooled by Aharish’s magnificent, emotional words at the ceremony. Holding back tears, Aharish said that she was lighting the torch “for all human beings, wherever they may be, who have not lost hope for peace, and for the children, full of innocence, who live on this earth…. For those who were but are no more, who fell victim to baseless hatred by those who have forgotten that we were all born in the image of one God. For Sephardim and Ashkenazim, religious and secular, Arabs and Jews, sons of this motherland that reminds us that we have no other place. For us as Israel, for the honor of mankind, and for the glory of the state of Israel.”
Aharish, the only Arab lighting a torch in the ceremony, shifted into Arabic, Israel’s other official language, saying: “For our honor as human beings, this is our country and there is no other.”
A different yet parallel development occurred at the same time, when the annual Israel Prize for poetry and literature was bestowed on Erez Biton.
The Israel Prize is widely considered the country’s highest civilian honor and the jury that selected Biton described his five collections of poetry as “an exemplary, brave, sensitive and deep grappling with the wide range of personal and collective experiences, revolving around the pain of immigration, the travails of rooting oneself in Israel, and the establishment of eastern identity as an inseparable part of the full Israeli profile.”
Biton happens to be the first Sephardi Jew to receive the award in this crucial cultural category. Again, “happens to be” is a phrase that diminishes the cultural and historical realities that make this achievement one that transcends the individual and stands in for the history of neglect felt by this significant minority in Israeli society.
These two stories, each pleasant in their way yet tinged with the deep and diverse troubles of Israeli society, carry innumerable lessons for not only Israel but countries around the world.
There are people in every country who, because of the groups to which they belong, have experienced discrimination, decreased opportunities and, well, far worse. Yet within these groups are individuals who have nevertheless achieved accomplishments that suggest there is room for a better future, one that accepts diversity, that encourages creative grappling with a society’s complexities and that respects those who are unafraid to assert their rights.
Here’s hoping that this year, and in future years, a more diverse and equal world means that “happens to be” becomes the norm, not the exception.
We were fortunate to be guests at two warm and spirited seders this year. As designated song-leader, I tried to ensure that the singing was fulsome and sufficiently rowdy to rescue late-night flagging energy levels. One heartfelt moment was singing Ani Ma’amin. Based on Maimonides’ 13 Principles of Faith, the song declares, “I believe, with complete faith, in the coming of the Messiah.” It’s a song familiar to attendees of Jewish summer camp and Holocaust remembrance ceremonies. It’s beautiful and haunting and, with its concise lyrics, contagious for group sing-alongs.
There was an Israeli-Canadian couple at the seder and so, after singing about the Messiah’s hoped-for arrival, I grabbed the opportunity to insert another song from my favorite genre: Israeli ’70s and ’80s pop music. Shalom Hanoch’s 1985 hit, “Waiting for the Messiah,” launched onto the Israeli music scene an iconoclastic cry of frustration: “The Messiah isn’t coming – and neither is he phoning.” The few at the seder who knew it sang and air-banded for a bit before turning solemn as we wound down the seder with Hatikvah.
In Ani Ma’amin there is the belief that the world will one day improve, if only we are patient. Hanoch’s song, by contrast, is an attempt at hard-edged realism.
In 1985, Israel was gripped by hyperinflation. “The stock market crashed,” he sang. “People jumped from the roof; the Messiah also jumped, and they announced that he was killed….” Serious political ills were also ramping up, with the Lebanon War fresh in the memory of an increasingly restless nation. And, with the intifada breaking out two years later, more would follow.
Even in the absence of belief, messianiam is an ever-present notion in Jewish culture. In the 17th century, there was Shabbetai Tzvi, known as the false Messiah; later, there was the rejection of modern Zionism among the ultra-Orthodox who believed – and still do – that the experiment in Jewish sovereignty should wait for the Messiah’s arrival. Then there is the belief of some within the Chabad movement that the Rebbe, Rabbi Menachem Mendel Schneerson may himself have been the Messiah. For my part, given that I speak only Hebrew to my kids, I’m stuck with phrases that I normally wouldn’t use in English – and which don’t always reflect my worldview – phrases like “what are you waiting for – the Messiah to come?” when my then toddlers would rest in a snowbank between their JCC preschool and the parking lot.
But what really struck me that night at the seder as we sang Hanoch’s lyrics was a two-fold question. First, which stance better fulfils the Judaic imperative of tikkun olam: the traditional belief in messianic redemption, or the belief that it is all up to us? And second, how can we agree on what of the many problems in the world are deserving of fixing in the first place?
Clearly, the world is in disrepair. Just within the last few weeks, for example, two infants died in unregulated South Tel Aviv day cares serving African refugees; Islamic militants of the al-Shabab Somali group slaughtered 148 Christian students at a university in Garissa, Kenya; bloodshed continues in Syria and Yemen; antisemitic attacks are on the rise, especially in France; and, in Canada, according to Make Poverty History, one in 10 children here lives below the poverty line.
Certainly, none of us in our lifetime will solve all the world’s ills, and with humanity’s imperfections, including our own mental and emotional flaws, our lust for power and the natural drive for accumulation amid scarcity, it’s hard to believe that widespread suffering will ever be overcome. Some believe that messianic yearnings lead to passivity; others that it spurs us to action.
But perhaps the biggest conundrum is how to agree on which of the world’s ills we should actually care about. For some, the criterion is whether the problem is local; for others it is the perception of how the solution will implicate their own well-being; for others it hinges on whether they think the problem is actually the fault of the sufferer. Whether or not one believes in the possibility of messianic redemption, or whether one believes that it is up to us mortals to repair the world, we would do well to start with something that is hard to contest: the importance of compassion for suffering wherever it is found.
Mira Sucharov is an associate professor of political science at Carleton University. She blogs at Haaretz and the Jewish Daily Forward. This article was originally published in the Ottawa Jewish Bulletin.
In the past several weeks, we have celebrated liberation and redemption on Passover. On Yom Hashoah, we mourned the victims of Nazism and the generations that never were. On Yom Hazikaron, we honored the brave defenders of Israel who gave everything for the dream of the Jewish people’s right to live as a free people in our own land. Then we joyously celebrated the realization of that dream on Yom Ha’atzmaut.
These four commemorations are drawn together in many ways by rabbis and thinkers. We are mere journalists, but if you give us a moment, we, too, have some thoughts that may be worthy.
There is a troubled narrative connecting the Holocaust and the creation of the state of Israel, a connection that is sometimes misunderstood and often deliberately misrepresented.
Critics have called Israel a “reparations payment” given to the Jews as recompense for the Holocaust. This formulation is a desecration, because there could be no recompense for the Holocaust. More to the point, it is false history. Israel was not given to the Jewish people. The Partition Resolution, significant as it was as a fulcrum for historical events, turned out to be another hollow United Nations vote. Israel came into being only because the Jews of Palestine, some from the Diaspora and a small group of idealistic non-Jews from abroad fought – some to the death – for the dream of a Jewish homeland.
The connection between the Holocaust and the creation of the state of Israel is not, as the popular narrative has it, because the world felt sympathy. If anything, the world wanted to create a place for the surviving remnant so that they wouldn’t have to take responsibility for them.
Where the genuine connection lies between the tragedy of the Holocaust and the joy of independence is in the realization that the Holocaust was a direct result of Jewish statelessness. Had Israel come into being a decade earlier, there may have been no Holocaust, or its magnitude would have been much diminished. That is one connection.
Another is the psychological effect the creation of the state had on Jewish people individually and collectively, in Israel and in the Diaspora.
After the Holocaust, the Jewish people worldwide could have been expected to plummet into individual and collective despair. Instead, Israel gave hope – and a future to imagine and to build after the collective future was almost destroyed. Whether Jews made aliya – or even visited – or not, Jewish Canadians helped build the state of Israel through a million acts of philanthropy and volunteerism.
Israel is many things to many different Jews. It is a resolution to 2,000 years of statelessness, the fundamental fact that was at the root of our tragedies. It is the culmination of the quest for sovereignty and freedom and, while Israel is not perfect by any stretch, we endeavor to work toward that ideal. Israel is the dream for which so many have given so much, as well as a complex, thrilling, sometimes infuriating, always cherished reality.
In the context of millennia of Jewish civilization, the comparatively new state of Israel is a part of all of us and we are all, in some way, a part of it.
There were no doubt many emotions surrounding the Israel Prize this year: disdain over Prime Minister Binyamin Netanyahu intervening to disqualify some judges apparently on ideological grounds, pride for the winners and disappointment among those forgotten. Even Chaim Topol, this year’s Israel Prize winner for lifetime achievement, said he had mixed feelings about his victory since other deserving candidates have been shut out in recent years. And for those who think about Topol in what is his most popular role, that of Tevye in the 1971 film (and some of the stage productions of) Fiddler on the Roof, there is likely one other emotion: nostalgia.
Nostalgia often gets a bad rap when it is talked about in the context of social maturity. But as I’ve argued elsewhere, the collective experience of nostalgia can also be a source of psychological sustenance for mourning an apparently simpler past in order to embrace a more complex present. In 20th-century Jewish popular culture, nowhere has this been more apparent than in the case of Fiddler on the Roof.
This was a time of emerging feminism and rising divorce rates. Races, religions and ethnicities were mixing as never before. The nature of Jewish religious practice was becoming viewed as a personal choice – something that Steven M. Cohen and Arnold M. Eisen have described as the emergence of a “Jewish sovereign self.” On this backdrop, Fiddler’s audiences were given a “safe space” – in today’s parlance – to mourn patriarchy, cultural homogenization, and collective adherence to folkways and cultural conventions.
Consider the dream sequence. In presenting his concocted reverie as a divine omen in order to convince Golde that Tzeitel should marry Motel, Tevye pulls a trick out of the bag of shtetl superstition. And the conceit works. Though we know it’s a ruse, we become caught up in the ghoulish spin of the costumes, choreography and music. For a few minutes, we bid farewell to outmoded beliefs and traditions without feeling that we are abandoning our past commitments outright.
Or the ironic and comical number “Matchmaker, Matchmaker,” where the comfort of convention is as thrilling for the daughters initially in the show, as is their fierce independence by the end.
Or Tevye conceding in the prologue that he doesn’t know the origin of some of the community’s customs. As Judaism becomes increasingly infused with contemporary values – the ecological dimension of powering down on Shabbat; the blending of new food politics with kashrut and the search for personal spirituality – Tevye’s proverbial wink directed at the audience allows us to keep one foot in the present of personal autonomy and choice, while the other dips into the comfortable past where automatic adherence to Jewish tradition formed the bonds of community.
American Jewish writer Cynthia Ozick complained that Fiddler portrayed Sholem Aleichem’s stories as “naive,” with “the occasion of a nostalgia for a sweeter time, pogroms notwithstanding.” Fiddler’s Broadway director and choreographer Jerome Robbins was concerned about the play appearing overly nostalgic, writing to his costume designer that he didn’t want audiences viewing the characters “through the misty nostalgia of a time past….”
For allowing Americans to come to terms with a changing America, however, and for American Jews to reflect on the rapid changes within their own communities, the nostalgia in Fiddler has been important. As Stephen J. Whitfield has written in his history of the show, Fiddler “had the advantage of distance: play-goers were far enough removed to memorialize without honoring any particular claims it might make, and without submitting to any moral mandates it might demand.”
Thinking about the role of Fiddler in today’s Jewish landscape, I think about the constant tensions between history and tradition on one hand, and modernity and contemporary values on the other. This has been especially important in how Jewish communities negotiate difference.
From the ashes of the Holocaust, the Zionist struggle for sovereignty and postwar North American Jews fighting against prejudice and discrimination, Jewish concerns now include many additional tensions. There’s intermarriage – how to broaden the tent enough to include intermarried families who may wish to be part of the Jewish people, but not so much that the meaning of being Jewish is lost; increased women’s ritual participation in North American synagogues and in public space in Israel; and LGBTQ Jews looking to take their place in Jewish communities. For their part, Israelis struggle – not hard enough, perhaps – to honor their state’s Jewish identity while extending full equality to the Palestinian minority and contending with the ongoing occupation, all while confronting the difficult plight of African refugees and asylum-seekers.
With Passover just behind us – and, for many, its nostalgia-drenched experience of gathering around the seder table – we might pause to consider how to navigate the uncertain waters of change while being anchored by tradition. And yes, a little nostalgia now and then might just help.
Mira Sucharovis an associate professor of political science at Carleton University. She blogs at Haaretz and the Jewish Daily Forward. A version of this article was originally published on haartez.com.
