COVID-19 has upended all of our lives in multiple ways. More people work from home. Self-isolation has become customary. Masks are everywhere. The anxiety and fear of infection have spread as widely as the virus itself. To reflect these and other changes, the Sidney and Gertrude Zack Gallery invited Jewish community members – not professional artists but lay people – to share their experiences, thoughts and emotions in both visual and oral formats. The results can be found in the gallery’s current show, What We See: Stories & Moments from the COVID-19 Pandemic.
“Gloves and Masks,” photo by Doris Fiedrich.
The exhibit, which opened Sept. 10, consists of 15 entries. Each entry, submitted by one person, includes a few photos depicting that person’s new reality and a short essay, in which the participant wrote what has touched them most profoundly. As the deadline for the submissions was early July, everything in the show is about the first few months of the pandemic, before we all got more used to it and the new rules of social interaction became the norm.
Participant Sandra Collet presents her impressions through a poem on the meaning of the current crisis: “… A time of loneliness / A time of LIFE … A time of sadness / A time of hope.” Its last line, “Together apart,” encapsulates one of the most significant changes wrought by the pandemic.
Bob Prosser has written about his “ordinary experiences” and contemplates the days ahead: “… my wife sewed masks, we’re growing herbs and vegetables, we have learned to bake bread.… I’m hopeful but pessimistic about the post-COVID future.” One of the most memorable photographs of the whole show is his: the stockpile of toilet paper in his house.
“Owl,” photo by Evan Groberman.
For Derry Lubell, the hardest aspect of social distancing is her inability to be with her family, to interact with her grandchildren. Her short essay is almost a lament. She writes, “… one afternoon, I went to their house and stood on the sidewalk. They all came out onto their front porch.… I took these shots of our separation.”
Micah Groberman encountered a different challenge. Before the pandemic, his business was focused on tourism and, like most every other business connected to tourism, it fizzled out due to the global travel and gathering bans. He writes, “… before COVID, I would walk my sons – Evan, 8, and Jonas, 5 – to school and then begin my workday, but suddenly, I became my boys’ teacher.” He admits that he is not too good at math, so he decided to teach his sons about what he knew, instead: photography and nature. His older son’s photographs of wild birds, taken under Groberman’s tutelage and included in the show, prove the father’s talent for teaching. The images are outstanding.
Paul Steinbok’s photos capture simple, everyday images. In his essay, he expresses sympathy and compassion for those who have suffered from COVID. His own feelings have become more acute, more attuned to the life surrounding him. “This year,” he writes, “I have observed more closely and photographed the ever-changing colours and textures of spring. In addition, I have photographed some situations that have resulted from the COVID restrictions, such as messages of hope, COVID-style birthday parties and exercise classes.”
Tybie Lipetz, the mother of a 4-year-old daughter, writes about the disappointments young children have faced, the school closures and birthday party cancellations. “Life was turned upside down for the kids,” she notes.
“Dog Scarlett,” photo by Fran Goldberg.
Despite the drawbacks and dangers of COVID, many entries emphasize the authors’ hope and joy. For example, Fran Goldberg, who belongs to the especially vulnerable age group of 70-plus, has found positivity from her family and her dog. She and her children stay in touch by phone daily. “Instead of talking about what I couldn’t do, we started to focus on what I could,” she writes. “For one thing, I could Zoom with my family.… I have a dog.… She is 13 years old and, on our walks, she still takes the time to ‘smell the roses.’ She and my family have taught me to slow down and appreciate the beauty I see around me.”
“Bouquet,” photo by Kathy Bilinsky.
Kathy Bilinsky also recognizes the beauty around her, however unexpected, and has captured it with her camera. In her essay, she mentions walking around Granville Island, which she did countless times before the pandemic, and notes how, at the pandemic’s onset, everything looked different, abandoned: “… no vendors, no shoppers, no tourists. It felt surreal…. So many doors that we can’t enter, nor do we want to.”
In her photos of the closed doors of Granville Island, the familiar noisy streets are almost unrecognizable. Who had ever seen those doors in broad daylight without a crowd in front of them?
Another of Bilinsky’s photographs is a bouquet on the asphalt, a gift from her children on Mother’s Day: “… flowers received ‘socially distanced,’ awkwardly tossed on the parking lot floor.… We all just stood and stared at them.”
The 15 participants in this unique show offer stories and moments ranging from eerie to prosaic, from heartwarming to poignant, all contributing to this combined slice of memory of the first few months of the pandemic in Vancouver.
What We See: Stories & Moments from the COVID-19 Pandemic runs until Nov. 10. You can visit the Zack Gallery by appointment or view the show’s digital book at jccgv.com/art-and-culture/gallery.
Olga Livshinis a Vancouver freelance writer. She can be reached at [email protected].
Michael Scholar Jr. directs Lungs, which is at Studio 16 Nov. 13-22. (photo from Mitch and Murray Productions)
If you’ve not been to the theatre in many months, consider treating yourself to a COVID-19-safe performance of Lungs, opening at Studio 16 in Vancouver Nov. 13, and running to Nov. 22. Michael Scholar Jr. is the Jewish director of the play, which stars real-life married couple Aaron Craven and his wife, Kate Craven, who is also a member of the Jewish community.
Audience numbers will be limited to 25 in this two-actor performance, in which the couple discusses whether or not they should have a child. The discussion takes place over many years and the debate is over whether childbearing is the morally correct choice in a world brimming with overpopulation, hatred, racism and climate change.
“The ideas and issues brought up in this piece really resonate right now in the pandemic, with regards to questions like, Are we taking care of the planet, our neighbours and ourselves?” Scholar told the Independent. “This really resonates with us as artists and, to approach this during the pandemic, seems really timely.”
Lungs was written by Duncan McMillan, a British playwright, and debuted in 2011. Aaron Craven, the co-producer and owner of the Vancouver theatre and film production company Mitch and Murray Productions, determined a two-actor play starring a husband and wife would satisfy COVID-19 safety protocols. With small audiences and barriers between the actors and audience, the show will go on.
Scholar notes that Lungs is a much-loved play to mount not just because of its relevant subject matter, but also because of its production simplicity. “The author’s notes say there’s not to be any costume changes, furniture or set pieces, so 60 scenes happen without any indication as to where and when they are,” he said. “They keep jumping forward in time and it’s up to the audience to figure out where and when they are taking place. So, theatrically, it’s a relatively simple, low-fi production.”
While there’s no overtly Jewish content, Scholar believes that to be a Jew is to wrestle with G-d and, at the heart of this play, is a wrestling match about childbearing in a morally tenuous moment in time.
For ticketing information, visit mitchandmurrayproductions.com.
Lauren Kramer, an award-winning writer and editor, lives in Richmond. To read her work online, visit laurenkramer.net.
Among the theatre performances around town cautiously returning to live venues is the Arts Club’s production of Buffoon, a one-man play being presented at the Granville Island Stage until Dec. 6, and featuring the contributions of two members of the Jewish community, Amir Ofek and Itai Erdal.
Buffoon is the second of three works being put on by the Arts Club this fall. The play has two different actors playing the lead in separate shows at different times, and audience size in the theatre, which can seat 400 people, is limited to a maximum of 50.
“The fall theatre trio will be the first time for audiences to see fully staged and designed shows at the Arts Club since March,” remarked Ofek, the play’s set designer, when he spoke to the Independent before the opening of the play’s run Oct. 22. “Buffoon will be a real visual feast for the audience. Seating arrangements were planned. Actors can only get so close to the audience.
“The set, lighting, costume and sound design surrounding the sole performer will take the audience on a ride into the magical world of circus,” he added.
On working in the time of COVID-19, Ofek mused, “As a designer, we work at a personal level and often have animated meetings. Now, all the conversations had to be done over the phone or, in the case of a socially distanced meeting with director Lois Anderson, in a schoolyard.”
Erdal, the lighting designer, expressed his excitement at being involved with this production, while pointing out that there are unique demands posed during the pandemic. “I am used to coming and going from the theatre. We have to be very careful now. We have to wear masks and only so many people are allowed in at a given time. Working with these safety precautions during the pandemic is a challenge. Having to do it twice with two casts of one is also a challenge,” he told the Independent.
Indo-Canadian playwright Anosh Irani’s Buffoon tells the story of Felix. Born to a circus family who prefer trapezing to parenting, he quickly learns to turn life’s hard knocks into comedy. His longing for family and home is piqued at the tender age of 7, when he falls for an older woman, aged 8 – an event that inspires his journey to becoming a true buffoon.
The show is one part of a full season for both artists. Ofek is also working on Francis Poulenc’s La Voix Humaine for Vancouver Opera. That production had its digital première on Oct. 24.
“I am really happy to be busy now, at a time when theatre and live performance struggle to exist. I hope it is not a farewell burst of fireworks that signals the end of our time,” Ofek said.
Erdal, meanwhile, has recently designed two shows, B for Rumble Theatre and This Crazy Show for Company Vision Selective at the Queer Arts Festival, and is designing the Nov. 12-22 run of The Amaryllis for the Firehall Arts Centre. He has a photo exhibit at Luppolo Brewing, is writing a play, Check Point, for his company, Elbow Theatre, and is teaching an online course for the Musical Stage Company in Toronto.
Ofek and Erdal have collaborated in the past – on Florian Zeller’s The Father, at the Vancity Culture Lab in 2019, and on Joan MacLeod’s The Valley, in 2016 at the Arts Club.
The Arts Club stresses that the performance and rehearsal models for its fall trio of presentations were designed to be as safe as possible for artists, staff and audience members. All shows are being staged in adherence to safety guidelines established by the B.C. government, including the aforementioned cap of 50 patrons per show, staggered admission times and a mandatory mask policy (with the exception of patrons with respiratory or other health concerns). Each show has two rotating casts and crews, who do seven performances each week and rehearse in separate halls.
“Smaller, more intimate shows allow us to be nimbler than we would be with larger productions,” explained Peter Cathie White, the executive director of Arts Club. “This ‘bubble method’ of alternating casts and crews is a brand-new way of producing theatre for the Arts Club, and we hope it will become a model for performances to come.”
Other shows in the Arts Club fall lineup include No Child, to Nov. 8, about an underfunded high school in the Bronx; and the holiday comedy The Twelve Dates of Christmas, running Nov. 19-Jan. 3.
Besides the in-theatre experience, patrons have the option of purchasing tickets to a digital recording of each of the three productions, which is available to view for a limited time.
For more information and to purchase tickets, visit artsclub.com.
Sam Margolishas written for the Globe and Mail, the National Post, UPI and MSNBC.
Dr. Patricia Daly, the chief medical officer for Vancouver Coastal Health, provided an illuminating but discouraging perspective on the status of women in leadership positions in medicine during a National Council of Jewish Women of Canada webinar Oct. 14.
A familiar media presence in Metro Vancouver since the COVID-19 pandemic hit earlier in the year, Daly touched upon the history of women in medicine in Canada and their underrepresentation at board tables and in positions of authority.
Daly, who is also a clinical professor at the University of British Columbia’s School of Population and Public Health, pointed out that, at the time she graduated from medical school in the mid-1980s, one in three students were women. “I am at the stage in my career where physicians would traditionally be in leadership positions,” she said. “Yet, when I look around the tables where I sit, I don’t see one-third of those leaders as women, and I don’t see leadership reflecting the current reality that most students are now women.”
By 1995, there were more women entering medical school in Canada than men. By 2018, 63% of the student body nationwide was female. Nevertheless, only two of 17 Canadian medical school deans were women in that year and the Canadian Medical Association board was comprised of 20 men and six women.
Some of the theories put forward as to why there is a lopsided domination by men in positions of leadership include “unconscious biases” against women, family demands and a confidence gap between the genders, said Daly.
In the Vancouver Coastal Health region, just over 40% of doctors are women, reflective of the national average. Still, she said, fewer than 20% of all VCH leadership roles are filled by women, and that percentage decreases at more senior levels.
Recommendations of how to address this problem encompass leadership training, mentorship opportunities for young female employees and the creation of structures that would incorporate, among other things, the provision of childcare.
“We need to think about how we can support women (and men) who want a work-life balance so that they can advance in their careers and they can achieve leadership roles,” she maintained.
Daly then went into a wide-ranging overview of public health, a field with the mandate of improving the health of entire populations – through prevention of disease and injury, promotion of good health, and protection from potential harms.
Among public health’s many achievements in the past century are vaccinations, family planning, motor vehicle safety, healthier foods, control of infectious diseases, fluoridation of drinking water, safer workplaces and recognition of the hazards of smoking. Recent areas of focus in public health have been climate change and the prevention of substance abuse.
According to information provided by Daly, the average lifespan of Canadians has increased by 30 years since the 1900s, much of which can be attributed to advances in public health.
She added, “A lot of the work we do is centred on maternal-child health. In order to maximize someone’s health potential, we need to start in early childhood; in fact, in utero. Brain development is most important in the first two to five years of life. About 80% of our resources, including public health nurses, are focused on early childhood, supporting women to have healthy pregnancies, to help vulnerable mothers and for childhood immunizations.”
Public health also works on what is known as the “social determinants” of health, said Daly. These include levels of education and income, social connections and risk behaviours, i.e., diet, exercise and smoking.
“People living in poverty are at much greater risk of illness and disease, as well as injuries, despite universal healthcare,” she said. “The goal of public health is to reduce these disparities and bring the system towards one of health equity.”
The third part of Daly’s lecture was about public health and how it handles pandemics. In 1918, Vancouver’s chief medical officer, Dr. Fred Underhill, had to deal with the deadly outbreak of the Spanish flu. (The photos presented at the lecture from at that time showed an exclusively male and Caucasian medical leadership.)
COVID-19 has been Daly’s primary focus for the past eight months. As is broadly known, public health policies during the current pandemic have focused on the need to isolate cases and contacts for 14 days until a person is non-infectious; restrict travel; limit public gatherings; encourage people to physically distance; and have physicians provide virtual care when possible.
“Having access to tests is an important public health measure,” said Daly. “The single most important intervention is to isolate people who test positive and to identify their close contacts and quarantine them. We are fortunate that COVID-19 has a long incubation period. If we can identify cases, then, even if they get sick, they are not going to pass the virus onto others.”
She warned, “Despite the relatively draconian measures taken, we are not going to stop this virus without a vaccine.”
Daly also brought up some of the unintended consequences of the pandemic response, such as the growing number of overdose deaths, increased social isolation in long-term care facilities, suspended elective surgeries and the effects on the broader economy.
She concluded, “The good news is that vaccine development is very promising.”
Sam Margolishas written for the Globe and Mail, the National Post, UPI and MSNBC.
Not only did I never imagine that I wouldn’t be able to hug and kiss my family during Rosh Hashanah dinner; I didn’t even get to see them this year. Everyone is still hunkering down, keeping out of COVID’s way and staying close to home. At least most people are.
In case you’re one of those people waiting for things to “get back to normal,” I hate to be the one to deliver the bad news, but there is no going back. Normal is a setting on a dryer. Once the world claws its way out of this pandemic, we will be forever changed. Like grief and loss over time, we may not feel worse, but I guarantee we’ll feel different.
What will come out of this topsy-turvy pandemic is something much better. I’m hopeful that everything we’ve lost and sacrificed will be not only rectified, but made even more hopeful, soul-sustaining and life-affirming. I struggle to say these words, because it sounds downright arrogant, considering the losses people have suffered in the last many months, physically, financially and emotionally. But, if I choose to take the other fork in the road, it’s a dark and scary path, and I just don’t want to go there.
This Rosh Hashanah, like every Rosh Hashanah, we celebrated. Just differently. There was no fanfare. There was no cooking. There were no guests. Not even family. Being cautious by nature has stood me in good stead so far this year, and there was no way I was risking it all after such a long haul. So, we scaled down the physical celebration and revved up the spiritual one. We read more about the High Holiday rituals and their significance this year than ever before; we recited the blessings more powerfully than in the past; and, from our very core, my husband and I sincerely wished each other a healthy, sweet and good new year. And we meant it like never before.
In past years, I would fuss and bother and cook and bake. This year, I didn’t have the emotional or physical koach (strength) for it all. Preoccupied with health challenges, I decided to take the easy way out and have our meals catered from Chef Menajem. Not only was the food spectacular, but it made things (read: pandemic isolation) a bit easier to accept. I set an elegant (if empty) table, got out my silver candlesticks, draped the sweet challah with my homemade Yom Tov challah cover, and we proceeded to eat Rosh Hashanah dinner alone. Just the two of us. It was slightly eerie, but, at the same time, absolutely perfect. And, yes, that’s an acorn squash adorning the table. I didn’t even have the wherewithal to track down a pomegranate. And, while an acorn squash isn’t a first fruit, it was my first squash of the year. I’m sure G-d will understand.
A feeling of tremendous blessing came over me as I realized just how lucky we are to have each other, my husband Harvey and I. Thinking of our single, divorced and widowed friends, and the loneliness and isolation they’re feeling right now, my heart breaks. How I would have loved to invite those friends to our home to join our modest New Year’s celebration. A little wine, a lot of food, some brachot, some honey cake. But COVID-19 was having none of it.
Turns out, COVID-19 is a big, huge bully. It doesn’t care one iota about anyone’s feelings; it doesn’t want to know from suffering or depression or desperation. But, we know, and we’re fighting back. With joy. As many of you know, lots of local Jews took to the parks and beaches to hear the shofar on Rosh Hashanah this year and I, for one, infused much more meaning into the holiday than I can ever remember. Because I could. And it was a very conscious choice. Not only is Rosh Hashanah part of our heritage, it’s our right. And we sure as heck weren’t going to let COVID take that away from us, too. Everything just seemed to magnify this year – the holiness, the urgency, the depth of feeling. And, while it may have seemed a bit lonely from the long view, it was nothing short of superb close up.
Stepping in to fill the spiritual void so many of us are experiencing this year, there are dozens (if not hundreds) of rabbis and synagogues around the world offering online Jewish learning. I want to say a personal thank you to all of you. You are a lifeline, literally. Because of you, I am studying and learning more about my Judaism, and participating in its mitzvot to an extent that’s surprising even me. Never before has finding meaning and purpose taken on such enormous importance. Our mission isn’t just to stay alive; it’s to thrive, even in the face of this brutal pandemic. We, as a people, are stronger than that. Unfathomably stronger.
The pandemic has, for the most part, brought out the best in humanity, and certainly within our Jewish community. People are helping strangers, feeding strangers, doing errands for strangers and wanting to do more. And it’s not just Jews helping Jews. It’s Jews helping everybody. Truly, the world has become one people. When we climb out of our little hidey holes and show up for life in the most positive, compassionate ways we can, each of us makes the world a bit better. And the light grows.
Not a single one of us will come out of this pandemic the same person. We do have the choice to become a better version of ourselves though. Stretched beyond our comfort zone, tired from doing too little for too long, we do have the ability (and the desire) to puff ourselves up and accept the challenges facing us. Or even go beyond. If that’s all that’s within our control right now, that’s enough.
No one is asking us to perform miracles – that’s not in our job description anyway. All we’re being asked to do is help one another through this challenging time. Even just a kind word can get the job done. Do something. Do anything.
Shelley Civkin, aka the Accidental Balabusta, is a happily retired librarian and communications officer. For 17 years, she wrote a weekly book review column for the Richmond Review. She’s currently a freelance writer and volunteer.
In a recent article, I learned that Gal Gadot, the famous Israeli actor, says the prayer Modeh Ani (“I give thanks”) when she wakes up. Even famous people can be grateful for “getting their souls back” each morning.
In ancient times, sleep was considered analogous to death in some ways. As a study in contrast, the Christian response for children was: “If I die before I wake, I pray the Lord my soul to take.” The Jewish response is “Hey! Thanks so much for keeping me alive each morning!”
I have always been a morning person (annoying, I know). Although my household is busy every day, we always manage an unconventional communal Modeh Ani as we go out the door. Maybe it was before catching the school bus in those pre-COVID days or, now, just before we take a walk with the dog. In any case, by the time my kids are lining up for their pandemic screening checks and hand sanitizer, we’ve sung this happy and grateful prayer.
Once something is a part of our routine, Jewish or not, we often don’t reflect on it again – but it’s worth remembering. Reading that Gadot, also a mom, embraced a similar routine was sort of heartening. Then, I happened to be studying Daf Yomi, a page a day of Talmud, and an interesting question arose in Eruvin 70a. What if one made an arrangement with someone so that there would be an eruv, a symbolic communal space, that allowed for carrying on Shabbat, and that person died? What happens then?
Almost immediately, the Talmud discusses the person’s heir. There’s no elaboration on the details, the heir was apparently known to everyone. There’s no mention of the executor or the lawyer the family must hire. There’s none of that. I imagined what it would be like if somebody near to me died suddenly on Friday afternoon, and what might happen next.
Thousands of years ago, people didn’t live as long. They lacked the kind of warnings we usually have now, through medical diagnoses and tests and surgeries. Mortality in general was higher, although everyone still dies. Rather, without modern medication and medical interventions, one expected a fair number of infants, children and adults to die before their time.
The recent rise in COVID cases in my home province of Manitoba and the rising mortality numbers have brought all this back into focus. In the last little while, two men in their 40s have died here. My husband and I are in our 40s. We have kids in grade school. We have a dog. And a house. And….
Based on recent experiences with the deaths of relatives and friends, we often had an idea ahead of time that the person was ill or that things weren’t looking good. Yet it isn’t unusual to hear of family members still tying up the deceased person’s affairs for many months (or years) later.
This pandemic is a sobering wake-up call. A hundred years ago, during the flu pandemic, young parents died very suddenly and left orphans. There were children, spouses, siblings and parents who remained. We’re facing something similar in 2020.
On the one hand, we’re lucky because Judaism offers us very sturdy mourning practices. We’ve continued to innovate, too, relying on technology to mourn together. The last few days, I have joined a rabbi online as she says Kaddish. She waits, patiently, until she sees 10 people pop up, viewing her Twitter or Instagram live feed, thanks everyone for helping her, announces her mother’s name, and begins Kaddish. Given the pandemic’s enormous effects, this has been an intimate and surprisingly moving way to support someone in need, virtually.
On the other hand, we’re out of practise with the notion that somebody can just “up and die.” Most of us don’t have immediate plans in place, but we should. Parents all over the world are scared by the notion that they might fall ill, die and leave their kids and spouse alone. This goes way beyond how one will have an eruv on Shabbat if someone dies on a Friday afternoon or on Shabbat.
Do we have up-to-date wills in place? Emergency plans for our immediate families and long-term ideas of how to get support for those left behind? There are a lot of questions and they are scary. What’s worse, though, is that the panic caused by thinking about this can cause us to turn irrational and erratic. Fear can make us hard to be around. We become the people who can’t manage basic, polite social encounters, such as social distancing at the grocery store.
What’s the antidote? Well, while careful estate planning helps, nothing really prepares us for sudden illness. No amount of religious rituals can make us immortal. However, many circle back to countering the fear. Some of us say Modeh Ani, to be grateful – for each morning, a ray of sunshine, a toddler learning to count or an older kid triumphant after a hard test at school. It’s a taste of really good sweet potato pie or an unexpected hug.
In other words, take the win when you can get it, wherever you find it. Sometimes, it’s whimsy, like knitting a pair of mittens with lots of colours, polka dots and a thumb ring. It’s remembering why we say a prayer, even if we rush it or say it at the wrong time.
We can wears masks and social distance and wash our hands, but, right now, our souls also need positive, meaningful time and spiritual support. The next time your car needs an oil change? Consider routine soul maintenance, too.
Joanne Seiff has written regularly for CBC Manitoba and various Jewish publications. She is the author of three books, including From the Outside In: Jewish Post Columns 2015-2016, a collection of essays available for digital download or as a paperback from Amazon. Check her out on Instagram @yrnspinner or at joanneseiff.blogspot.com.
Grounds for Goodness Downtown Eastside: Adventures in Digital Community Art Making, led by Ruth Howard, is part of the Downtown Eastside Heart of the City Festival, which starts Oct. 28. (photo by Adrienne Marcus Raja)
Tikkun olam, the imperative to repair the world in which we live, is a core influence of the project Grounds for Goodness Downtown Eastside: Adventures in Digital Community Art Making. Led by Toronto-based theatre designer and educator Ruth Howard, the residency is part of the Downtown Eastside Heart of the City Festival.
The festival runs Oct. 28 to Nov. 8, and Grounds for Goodness, which “explores why and how people sometimes do good things towards others,” takes place Oct. 30 to Nov. 12. It comprises participant and audience interactive story-sharing, art-making, workshops and an evolving gallery online, as well as Downtown Eastside window displays. The residency is co-produced by Jumblies Theatre and Arts and Vancouver Moving Theatre.
Howard – who has participated in the festival before (jewishindependent.ca/putting-heart-into-city) – is the founder of Jumblies. She said tikkun olam is an underlying motivator in all her work – “and one of this project’s explicit intents is to connect its themes and questions, my Jewish heritage as a second generation Holocaust survivor and my vocation a community-engaged artist.
“Community arts is predicated on the working belief that bringing people together across differences can foster commonality and understanding,” she explained. “And yet, growing up in the 1960s, as the child of a German Jewish refugee (my mother and family escaped to England in 1938) and an experimental psychologist, I was bred on evidence that groups of people tend to do atrocious things towards others, with goodness being individual heroic exceptions. I was told at a young age about [Stanley] Milgram’s electric shock experiments, and understood the link between such cautionary tales and attempts by survivors to explain the Holocaust. My own uncle – Henri Tajfel, both social psychologist and Holocaust survivor – coined the term ‘social identity theory.’
“Therefore, my attention was grabbed a few years ago when I read some books about the saving of Danish and Bulgarian Jewish populations during the Holocaust by citizens of those countries. The Danish story was slightly familiar to me and the Bulgarian one not at all. I have since become quite obsessed by these and other instances (for example, Albania, the Rosenstrasse protests) that run against the grain of my and other people’s common assumptions about human behaviour and ‘nature.’ I felt compelled to tell these stories and learn more about the reasons behind them. I started to investigate the notion of ‘social goodness’ from many angles: history, psychology, anthropology, philosophy, memory, folk tale, legend, theory.”
With the help of independent research and creation grants, Howard “gradually brought the project into the work of Jumblies, inviting and including the responses of diverse community participants and groups. Now, we have a broad and growing repertoire of stories with which to play.
“However,” she stressed, “it’s important to me to uphold the project’s origins in Jewish perspectives and histories, and my own Jewishness: a complicated mix of darkness, hope and urgency to understand how to cultivate grounds for goodness through never forgetting what can happen in its absence.”
The Jumblies team in Toronto includes Howard’s daughter, web designer and choir conductor Shifra Cooper, and composer Martin van de Ven, also a member of the Jewish community.
Martin van de Ven (photo from Heart of the City Festival)
In addition to being a composer for film, television, theatre and dance, van de Ven is a music facilitator and educator. He is also a clarinetist and has performed with the Flying Bulgar Klezmer Band, Chutzpah Ensemble, and Beyond the Pale. He has been involved in many Jumblies projects – as musical director, composer and/or performer. “Ruth and I have written several choral works together,” he told the Independent.
“To me, Jumblies is the embodiment of a music and art-making philosophy that believes the arts are there for everyone to create and not just for the well-trained elite,” he said. “Composers such as John Cage and Canada’s R. Murray Schafer talk about this in their writing and both were an early influence on my music education. Jumblies allows me to use my own skills and training to combine the efforts of trained and non-trained performers to create art, and specifically music, that serves the purpose of the moment, whether a stand-alone piece or something that supports a story being told. I think this work is important; it democratizes and decommodifies music-making and breaks down barriers to creation for community members who are otherwise shut out of the creative process. The myth that music-making is the sole purview of the highly skilled, and it is only worthwhile if it is commodified into a product to be consumed, is damaging to the whole idea of ‘homo ludens,’ the idea that a fundamental human attribute is the ability to play, invent and create.”
The community choir that Cooper directs embodies this concept of art being for everyone.
“The Gather Round Singers is an intergenerational community choir, made up of 30-plus mixed-ability, multi-aged singers, from across Toronto and beyond,” she said. “We exist within Jumblies Theatre, and so share their dedication to radical inclusivity and benefit from their experience in creating interdisciplinary work.”
Despite the challenges of COVID-19, the choir has been meeting weekly online since April, said Cooper, “to rehearse and perform new choral works designed or adapted for this new context” – that “[c]horal music is among the more challenging forms to adapt to online gathering, as video calling platforms such as Zoom are designed to reduce vocal overlap, and create latency that makes in-sync singing impossible.”
The Gather Round Singers will perform two new pieces for the opening of the DTES Vancouver residency, said Cooper – “one a world première by Martin van de Ven and one a work-in-progress by Arie Verheul van de Ven, both of which were developed this summer especially to be performed on Zoom. These are both part of Jumblies’ larger Grounds for Goodness project, which continues until a final presentation in June 2021, and will include several other new musical and choral pieces … and other composers (including Andrew Balfour, Christina Volpini and Cheldon Paterson).”
“Grounds for Goodness overall is a multi-year project that includes many partners, places and participants,” explained Howard. “It has been taking place through real-live and virtual activities for almost two years. There have been episodes in Nipissing First Nation (near North Bay, Ont.), Montreal, Brampton, the Ottawa Valley, Algoma Region (northern Ontario), and with various Toronto groups.… We have received funds to tour the project, which have now been adapted to allow for ‘virtual touring.’ The Vancouver iteration is the next big chapter in this project.”
For Grounds for Goodness Downtown Eastside, Martin van de Ven said, “we’ll be premièring a work called ‘Besa.’ ‘Besa’ is an Albanian Islamic concept about hospitality and the need to help and protect guests and those in need within and beyond your community.
“In Albania, during the Second World War (and Italian and then Nazi occupation), this meant that almost all Jewish people living and finding refuge in Albania were sheltered and hidden, and Albania ended up with a larger Jewish population at the end of the war than at the beginning. We created a work based on texts found in writings and interviews with Albanians – from the book Besa: Muslims who Saved Jews During WW II by Norman H. Gershman.
“The COVID-19 restrictions prevented us from developing this piece as we normally would,” he continued, “and so I composed a work that could be performed and rehearsed with everyone being online. It involved researching the technology, experimenting with Zoom meetings and audio programs, as well as writing music that allowed for enough flexibility to deal with internet latency. For our Vancouver residency, we will be presenting this work and sharing our experience of creating an artwork to be performed online with members of the Vancouver art community.”
Those Vancouver artists include Savannah Walling, Olivia C. Davies, Beverly Dobrinsky, Khari Wendell McClelland, Renae Morriseau and Rianne Svelnis, as well as 10 DTES-involved participants.
* * *
Van de Ven started music lessons when he was 6 years old – on recorder. “In elementary school,” he said, “my friends and I decided we wanted to form a circus. As the only one in the group with musical training, I was charged with writing the theme for the circus band. I dutifully started writing down half notes and quarter notes on paper and tried to play them on the recorder. The method worked fine but I soon realized I would need some additional training if I wanted it to sound good.
“I ended up with a musical education partially shaped by my father’s interest and taste for very modern classical and jazz music and eventually formal training at university,” he said. “In my late teens, I realized that my interest in science and engineering paled compared to the excitement I felt for a live performance, whether as an audience member or as a performer.”
In university, in addition to his formal training, van de Ven was involved in various jazz programs and, eventually, studied and performed in free improv ensembles. He also did a short stint in Europe, studying early computer music in electronic sound synthesis.
“Klezmer music has a history deeply rooted in East European and Middle Eastern music traditions. As a clarinetist,” he said, “it provided for me a wonderful vehicle to not only deeply emerge myself into a culture other than my own but also perform a lead role playing in a band.”
Shifra Cooper (photo by Liam Coo)
For her part, Cooper has loved choral singing her whole life. “And I bring this love to my own work,” she said, “while having always believed that bringing together community arts and choral singing requires a flexibility and a softening of our understanding of the boundaries of what ‘choral music’ can be – this is something that I have always been creatively driven by. In these times, I’m learning a lot more about how far this can go.
“Sometimes, turning things on their head can be revealing of new approaches, considerations or perspectives,” she said. “For example, one young woman who has sung with the choir for many years, said to me the other day: ‘In rehearsal, I always sit in the back row, so I only see the backs of people’s heads. I like on Zoom that I can see the faces of everyone I’m singing and performing with.’ Another choir member told me that she feels more confident and motivated to practise when she has her microphone off and is alone in her room following along – this confidence comes through strikingly in the recordings she shared with me for one of our digital projects. In these ways, sometimes, working online has revealed the limitations of our previously established norms for singing in-person. I think often now about how, whenever we can safely be back together, we might incorporate these learnings.
“Which is not to gloss over any of the challenges of meeting online,” stressed Cooper. “I think I can speak for at least the majority of the choir when I say we all immensely miss singing together – in sync, in harmony, in rhythm. And a digital space, even though full of many possibilities, is also full of boundaries and obstacles to folks joining in, especially those experiencing more precarious housing or financial insecurity. Our team worked closely all summer with members of the choir community to bridge this gap, purchasing and delivering internet-enabled devices to choir members and providing remote and in-person (socially distanced) trainings and trouble-shooting.” They did so with funding from several sources, notably the Toronto Foundation.
“Another part of my work has often included event management and digital design and, in the new reality of virtual art-making, these two often come together in interesting ways,” Cooper added. “I’m delighted to be designing a new interactive website for Grounds for Goodness at the DTES Heart of the City Festival, that will act as an online evolving gallery, showcasing new work created through the community workshops and acting as the container and guide for the culminating virtual event.”
Risa Levine, chair of Jewish Federation of Greater Vancouver’s Community Recovery Task Force. (photo from Jewish Federation)
The Jewish community and its agencies have been dramatically affected by the COVID pandemic and its economic implications. But not a single agency has folded – and not a single employee has lost their job – in part because of the coordinated efforts of the Jewish Federation of Greater Vancouver.
That is the assessment of Risa Levine, who is chairing Federation’s Community Recovery Task Force. Levine, a retired justice who served on the Supreme Court of British Columbia and the B.C. Court of Appeal, was chosen to lead the major initiative, which will address the impacts of the pandemic on community agencies and help guide a possible rethinking of how programs and services might be delivered more efficiently or effectively in future.
The resilience of Jewish agencies stands in stark contrast to a much bleaker climate for nonprofit agencies in the general community. Among the many individuals and agencies the task force has heard from is Alison Brewin, executive director of Vantage Point, a resource agency for nonprofits in the province. “Alison told us that they expect about 25% of the nonprofits in British Columbia not to make it, to shut down,” said Levine. “Some already have and they expect that many of them won’t continue to operate.”
One of the things that Federation did almost immediately at the beginning of the emergency was intervene with a disbursement of emergency funds – $505,000, plus additional tranches released by individuals and families through their respective funds at the community foundation. In addition to this season’s annual campaign, canvassers are asking donors, if they are able, to make an additional contribution to the COVID emergency fund.
Levine was asked by Alex Cristall, chair of the board of the Jewish Federation of Greater Vancouver, to head the task force.
“I was on the allocations committee for Federation for 10 years, so that’s really directly related to what I’m doing now,” she said. “I had time and I think it’s crucial work to be done for our community, so I was honoured to be asked.”
Other task force members are Andrew Altow, Jill Diamond, Michelle Gerber, Hodie Kahn, Candace Kwinter, Shawn Lewis, David Porte, Justin L. Segal and Isaac Thau.
As well as confronting immediate needs of agencies, the task force presents an opportunity to consider the future more comprehensively, said Levine.
“The task force is taking a longer-term, holistic, strategic approach to look at how the community might look or how we think it should look coming out of this,” she said. The team is uniquely qualified to confront the challenges because of the diverse identities and experiences of the people on the task force, she said.
Task force members, collaborating with staff members Marcie Flom, executive director of the Jewish Community Foundation of Greater Vancouver, and Shelley Rivkin, Federation’s vice-president, planning, allocations and community affairs, are reaching out to all community partner agencies.
The crucial initial step is to determine how each agency has been impacted by COVID, what their immediate needs are, and what their requirements are likely to be for them to survive and continue their work.
“It’s just amazing and very impressive how resilient and responsive the agencies have been,” Levine said. “They are affected in different ways, depending on what their function is in the community and what they are doing.”
Jewish Family Services is on the very frontline, she said, addressing food security and housing for the most vulnerable in the community. They have expanded beyond their food bank to provision of meals, and providing delivery, which they did not do before.
“They are providing financial support for people, mental health support and so on,” said Levine. “Their client load has doubled, at least, since March and they’ve had to add to their staff and they are all working remotely. It’s been huge. And they’ve been amazing in terms of what they have been able to do.”
Synagogues have also stepped up in preparing and delivering meals to congregants, especially seniors and others who are particularly vulnerable and lack mobility because of transportation challenges and the reduced accessibility to routine services, she said.
She cited the Jewish Community Centre of Greater Vancouver’s nearly instant transition to online delivery of services. Smaller agencies, however, face greater challenges because they may not have the hardware, software and institutional capacity to make that kind of technological shift. Helping those agencies adapt to the technological and parallel needs was one of the priorities addressed at the outset, Levine said.
As the emergency campaign unfolds, the task force will continue assessing the situation.
“Ultimately,” said Levine, “the task force will be making recommendations for distribution of those monies, the Community Recovery Fund, and that will be based on the information we are gathering now about what the needs are and our assessment of how those funds can be strategically distributed to meet the needs of the community as they have changed and evolved through this crisis.”
Jerusalem on erev Sukkot, Oct. 2: Keren Hayesod Street (above), the Mamilla open-air mall and the First Station complex (both below). Normally, these places are full of people, especially the day before a holiday. However, for the foreseeable future, Israel is on a total lockdown – the country has one of the highest per capita COVID-19 infection rates in the world. Traffic around the country and in the cities has been exceptionally light, as people are only allowed to travel to essential work or to buy necessities at supermarkets and drugstores.
The Mamilla open-air mall (photo from Ashernet)The First Station complex (photo from Ashernet)
Head of school Russ Klein welcomes back King David High School students. (photo from facebook.com/kdhsvancouver)
Metro Vancouver’s five Jewish day schools are officially in session – student orientation began the week of Sept. 8. But, while the schools are working hard to create a “normalized” and consistent atmosphere for learning, the new procedures set in place by the Ministry of Education’s Back to School program will likely take a bit to get used to.
In July, the Ministry of Education announced new guidelines for class sizes and safe attendance as it prepared to return students to the classroom. Elementary and middle school cohorts are limited to 60 persons each, while high school learning groups are capped at 120 students. The province requires masks to be used at middle and high schools whenever social distancing cannot be maintained.
King David High School’s head of school, Russ Klein, acknowledged that having to wear a mask at school may be awkward for many. As well, the two-metre social distancing requirements will, at times, be difficult, forcing students to study on their own, rather than buddying-up for group assignments. That means, said Klein, “you are also then reducing opportunities for group work. You’re not facing the kids together, you are not sitting them in bunches,” methods that have often proven to be effective approaches in large classrooms. Teachers, he added, “really like to help their kids and needing to stay six feet away from them at all times changes how you help somebody and how you interact with them.”
Many schools began implementing changes to classrooms, common rooms and lesson plans last school year when it became evident that social distancing would affect how classes were taught. Rabbi Don Pacht, who oversees the Vancouver Hebrew Academy daily operations, said the move to a brand-new building last spring helped with that transition.
The larger building, he said, “gives us a very desirable ratio of space per student. Keeping distance between learning groups and allowing for distance between desks will be easily achieved.”
Like other schools in the area, VHA has also implemented see-through “sneeze guards” and other preventive measures to reduce chances of transmission. “We have also invested in Plexiglass screens and additional hand sanitizing stations throughout the school,” said the rabbi.
Vancouver Talmud Torah began making changes to the curriculum last school year as well. Jennifer Schecter, who serves as the communications and admissions director for VTT, said the speed with which the school began implementing changes to address the coronavirus threat appears to have paid off.
“Our retention was at an all-time high this past year because I believe parents value our product and the sense of community we provide more now than ever. This is a testament to our faculty’s superb skill in pivoting and offering a robust remote learning program last spring,” Schecter said.
Technology plays an oversized role in teaching modules this year. All of the schools the Jewish Independent spoke with said they are prepared for a return to remote learning, should it occur.
“Every single faculty member has a VTT-issued MacBook Air to use at school and at home and each classroom is equipped with screencasting technologies,” said Schecter. “Our IT department is incredibly responsive, knowledgeable and stays ahead of the curve with respect to tools that can facilitate instruction, especially if VTT needs to go remote again.
“Last year, we put a solid infrastructure in place that allowed us to pivot quickly to remote learning,” she said. “We will be able to lean on this structure this year. Teachers are planning in anticipation of a potential shift to remote and will be acquainting their students with many of the same tools they did last year, such as Google Classroom.”
Meira Federgrun, who runs Shalhevet Girls High School, said students are outfitted to work either in-class or at home, when necessary. “All our students have personal laptops … and, in case students are self-quarantining/isolating, they have that as a resource to Zoom into classes on their regular schedule.”
KDHS’s Klein said teachers and administration are also preparing for increased absenteeism. “Because, when people are not feeling well, they are supposed to not come to school. And that could be the student or the teacher,” he said.
According to the B.C. Centre for Disease Control, children in this province have a lower rate of infection than adults. Still, preparing for the chance that some students may have to study from home while they are quarantining has required some out-of-the box thinking when it comes to lesson planning.
“Managing to keep the educational program uninterrupted and keep students that are absent in the educational flow, I think that’s going to be the challenge,” Klein said.
Pacht said parents will be expected to keep the school informed about students’ health status on a regular basis. “We know that there is stress on the parents as well,” said Pacht. “There will be questionnaires, waivers and health checks. If a child has as much as a sniffle, they will not be allowed to attend school until seen by a healthcare professional.”
Provincial COVID-19 health and safety guidelines require schools to maintain daily health checks for all students, staff, administrators and visitors, and parents’ participation with that process helps reduce the chance of an accidental infection at school.
Pacht added that the students’ sense of safety is important, too, as they adjust to this new environment. “This will be stressful for students, too, and we will focus on social and emotional support for students,” he said. “They will have to adapt to a new way of experiencing school (again!), and we want to ease that transition.
“I know that if we work together we can provide an exceptional experience for our children.”
Dr. Lara Aknin, a social psychologist at Simon Fraser University, said kids may need extra support this year to prepare them for new learning experiences.
“Helping kids feel safe and secure during the pandemic is important as we return to school this fall,” she said, offering the following research-proven ways to help young students gain confidence in today’s “new normal” classroom.
Encourage gratitude. “The pandemic has exacted a large toll on many,” said Aknin. “When possible, try reflecting on what you are grateful for.” Help students “focus on what’s good, rather than what’s lost.”
Be kind and help others. Research has shown that we feel good when we help others. It can be as simple as donating tzedakah to a special charity or comforting another student, she said, “but finding ways to help others can make you feel grateful and boost your mood.”
Maintain a daily routine that kids can follow. Doing so provides predictability and structure during challenging times.
Keep up that exercise regimen. It’s a known fact that exercise helps boost serotonin and elevate mood. Aknin pointed out that exercise doesn’t have to be a workout. It can be a dance party, a family stroll after dinner or a favourite game.
And don’t forget to socialize. “Distant socializing,” even when it’s virtually or two metres apart, reinforces kids’ social connections with their friends, extended family, schoolmates and new acquaintances,” said Aknin. “[Ensuring] physical distance from others doesn’t mean we should cut off all contact with others. Find creative ways to stay connected and have meaningful contact with friends and family with Zoom, FaceTime, or distanced visits outside.”
Jan Lee’s articles and blog posts have been published in B’nai B’rith Magazine, Voices of Conservative and Masorti Judaism, Times of Israel, as well as a number of business, environmental and travel publications. Her blog can be found at multiculturaljew.polestarpassages.com.
***
New Hebrew school opens
B.C. Regional Hebrew Schools, run by Lubavitch BC, has launched a new Hebrew school for elementary students in the East Vancouver area. The Mount Pleasant location will be Lubavitch BC’s third school in the Lower Mainland.
“This program has been created uniquely for children who attend public school or non-Jewish private schools, and aims to present a comprehensive curriculum, including Hebrew language, reading and writing; Jewish pride and sense of community; Jewish holidays and customs,” said a press release announcing the opening. Rabbi Dovid and Chaya Rosenfeld serve as the directors for the three schools in the Lower Mainland. Riki Oirechman will be the new school’s principal.
Classes will take place Wednesdays, 3:45 to 5:30 p.m., at Mount Pleasant Neighbourhood House, accompanied by a complimentary kosher meal.
The organization said it is abiding by all COVID-19 protocols and, as such, asks that parents understand they will not be able to accompany their children inside during classes or drop-offs. Parents can inquire about classes by calling 778-878-2025 or emailing [email protected]. The class schedule can be found at ganisraelbc.com.
