Recently, I had the opportunity to visit Vancouver for the first time to meetwith members of the Jewish community and local business leaders. It was a wonderful experience that enabled me to see the Jewish community up close, and I plan to return soon to this city with its beautiful landscape, and warm and friendly people.
Through my work, I know how difficult it has been for the Jewish community given the explosion of antisemitism, especially since Oct. 7. The sharp rise in antisemitic incidents, including attacks on synagogues and the shocking experiences of students at the University of British Columbia, have created an ambiance of fear, anger and uncertainty. At the same time, this troubling climate has brought together Jews from all walks of life to defend our values, our people and the state of Israel.
One name that repeatedly arose – a nongovernmental organization I am very familiar with through my work at NGO Monitor – was Samidoun. Samidoun is a Canadian-registered not-for-profit, founded by a member of the Popular Front for the Liberation of Palestine (PFLP), Khaled Barakat. Barakat’s spouse, Vancouver resident Charlotte Kates, is its international coordinator.
Although Canada declared the PFLP a terror group in 2003 and, despite Samidoun’s antisemitic and pro-terror rhetoric, the government still has not taken action to shut down this NGO.
Like the PFLP, Samidoun disseminates messages and an agenda supporting violence, terror and antisemitism as a means to destroy the state of Israel. Since the Oct. 7 atrocities, Samidoun has expanded its local activities, contributing centrally to the sinister atmosphere facing Canadian Jewry. Illustrative examples include a July seminar in Toronto that called for eliminating “Israel as a military, political and economic establishment” and an event in Vancouver where the PFLP, Hamas and Hezbollah were praised. There have been dozens more such events.
In contrast to Canada, Samidoun activities have been banned in several countries, including France and Germany. Meta (formerly Facebook) shut down the social media accounts of the Vancouver and Toronto chapters of Samidoun, while Stripe, a major credit card processing company, closed Samidoun accounts on its platform, preventing online fundraising in Canada.
Let’s not be naïve. Samidoun is not the only NGO that is problematic, and it joins more than 100 other groups in Canada engaging in offensive and, at times dangerous, rhetoric. Moreover, the hatred stemming from Samidoun’s headquarters in Vancouver is not just against Israel and Jews, but against Canada and all Canadians. The NGO uses strategic attacks against the state of Israel and the Jewish people to distract from their assaults on the very values that enable Jews, Muslims, Christians and others to peacefully live side by side in Canada, Israel, and around the democratic free world.
Samidoun’s threat to Canadians, beyond the Jewish community, is blatant in their statement declaring Canada a settler colony “that require[s] the same settler logics and brutalities as ‘Israel’” and their claim that international law allows for people living in a colonialist society to “resist.”All law-abiding Canadians should be extremely concerned for Samidoun’s justification of Hamas’s Oct. 7 abduction, rape, mutilation and murder of innocent children, women, Holocaust survivors and eight Canadian citizens (including Vancouver’s Ben Mizrachi) as “resistance.” Moreover, Samidoun’s argument about Israel, that “imperialist warmongers will call it terrorism, but we know this is anti-imperialist resistance,” defends any terrorist activities they choose to initiate anywhere and is not reserved only for Israel but rather for all Western “imperialistic” countries.
While Kates is working to overturn Canada’s designation of Hamas and Hezbollah as terror groups, Samidoun is allowed to operate and flourish. After her appearance recently on Iran’s national television station to commend “the brave, heroic Oct. 7 operation” by Hamas that killed Canadian Jews, it is all the more critical to terminate Samidoun’s soapbox of hate that is based in Vancouver.
One of the impressive aspects of the BC Jewish community is the collective desire to work closely with those outside of their faith toward building a better society for all in Canada. After my visit to Vancouver, I am optimistic that Jews and non-Jews will work collaboratively against the seeds of divisiveness and hate sown by Samidoun. This will not end antisemitism in Canada, which has become, unfortunately, widespread. But it is an important first step.
Olga Deutsch is vice-president of NGO Monitor and has extensive expertise in international politics, humanitarian aid, funding to nongovernmental organizations, international development, post-Oct. 7 antisemitism, efforts to delegitimize Israel, and BDS.
“Dear Hostages, as the world rallies to celebrate your desecration I will not forsake you,” begins the poem written by Seattle-based multimedia artist and educator Loolwa Khazzoom. Posted on her Facebook page, with a #BringThemHomeNow poster featuring photos of Israelis kidnapped on Oct. 7, it continues, “My instinct is to deprive myself of oxygen / Because you are underground / And I will not forget you // But I know that you would dance / In the sun / If given the chance / So I now rise up / And dance for you.”
Many of Khazzoom’s songs begin as poems. In this case, she told the Independent, “I felt as if I could not breathe and as if I did not even want to breathe, out of solidarity with the hostages and with all of Israel, in particular, all the victims of the Oct. 7 massacre. It’s like I wanted to physically feel their pain and suffering, as a way of physically demonstrating that I would not forsake them or forget them.”
In a traumatized mental state, Khazzoom returned to the “healing tools of poetry and music,” which was another way she could show her solidarity and do her part in keeping the issue of the hostages in frontof people.
Similarly, Khazzoom and her band, Iraqis in Pajamas, recently released another poem-turned-song, “#MahsaAmini.” They did so this past Sept. 16, the first anniversary of the death of 22-year-old Mahsa Amini at the hands of Iranian “morality police.”
Finding out about Amini’s murder soon after it took place, from TikTok videos posted by Iranian women, Khazzoom “jumped into action.” She wrote to her political representatives, raised funds for United 4 Iran and reposted Iranian women’s videos on her feed constantly, to help boost the content’s views. “In addition,” she said, “a day after I found out about what happened, a poem with my feelings poured out of me, and I posted it on social media. Months later, I put that poem to a melody, and the band developed it into a full band song, which we released on the [anniversary of the] day of Amini’s murder.”
The death affected Khazzoom deeply for many reasons.
“First, the women in my family wore the abaya, the Iraqi equivalent of the hijab – Jewish women throughout the region were subject to Muslim dress codes, so it’s a Jewish issue, too,” she said. “Second, so many people assume that Islam is indigenous throughout the Middle East and North Africa, but it’s not. Arab Muslims rose up from the Arabian Peninsula and conquered the entire region, forcibly converting masses under the threat of death. So many indigenous ethnicities and religions predated the Muslim conquest, including Jews, Persians, Berbers and Kurds. The Iranian women protesting and burning their hijabs felt to me like challenging that Muslim conquest and awakening the ancient Persian warriors. Third, Persia is central to Jewish history and the origins of the Mizrahi community, dating back nearly three millennia ago…. And, lastly, the fire of these women, and the men who joined them, and their willingness to risk their lives for their dignity and freedom was just breathtaking and profoundly inspirational.”
Another of Iraqis in Pajamas’ releases this year was also intensely personal for Khazzoom.
“I wrote ‘The Convert’s Quest’ in response to some friends on social media sharing how hurt they were, coming under attack during the process of their conversion to Judaism. I had ample experience witnessing variations on this theme throughout my life – both first-person, seeing it happen to friends, and through my research as a Jewish multicultural educator. For decades, I felt very disturbed by this seemingly growing trend.
“I am the daughter of a Jew by choice, as my mother called herself, so the matter of conversion to Judaism is very personal for me,” she said. “I remember understanding very clearly as an Orthodox Jewish child that, according to halachah (Jewish law), once you convert, you are no longer to be called ‘a convert,’ but rather, a Jew, period. So, even from a religious Jewish perspective itself, I was very distraught by the ways that Jewish leaders and communities were rejecting or harassing converts, or even all-out forbidding people from converting. It all flies in the face of Jewish history, theology and practice.”
The band released “The Convert’s Quest” on May 24, on the harvest holiday of Shavuot, which celebrates the giving of the Torah to the Jewish people and on which the Book of Ruth is read. It tells the story of Ruth, a Moabite woman who converted to Judaism, whom Jewish tradition teaches will be the ancestor of the Messiah.
“To me, Jewish converts are the lifeblood of the Jewish people,” said Khazzoom. “I have a provocative line in my song, saying that converts are ‘the most Jewish Jews of all,’ because they are intentionally and consciously practising the foundational precepts of Judaism, which so many either take for granted or do rote, as is often the case in the Orthodox Jewish world where I was raised. In addition, amidst life-threatening levels of racism and violence against Jews, converts choose Judaism…. Why would we reject, in any way, from subtle to blatant, someone with such a heroic Jewish soul?”
Even when delivered in a playful manner, Khazzoom’s song are serious to the core. The campy “Kitchen Pirate,” for example, “emerged from my choice to reject the conventional option of surgery, in the wake of a cancer diagnosis in 2010,” she said. “Instead, I chose to radically alter my diet and lifestyle. Simply by overhauling my diet, I cold-stopped the growth of the nodules, which remained stable for the next five years – neither growing nor shrinking – until I returned to my lost-love of music, following which they began shrinking.”
Khazzoom said her songs “are always questioning, always challenging, always defiant. Sometimes, it’s more explicit, other times it’s embedded in silliness, which, parenthetically, I also see as defiant. I am and forever will be a curious, playful and awe-inspired child. I think that, if and when we ‘outgrow’ that, we die inside. And I refuse to capitulate to that norm of expected behaviour once we enter adulthood. By way of example, to this day, at age 54, when I am flying in a plane, if there is nobody sitting next to me, I will stretch out my arms and pretend I’m a bird, during takeoff.”
Not everyone has appreciated this aspect of her personality. “I have constantly gotten into trouble for it and have been at odds with my family, my community and society at large,” said Khazzoom. “I have endured terrible loneliness and often even self-doubt as a result. But I always come back to my core. And all of my songs emerge from that place – that raw, gut-wrenching place of being fiercely alive and allowing the clash with everything around me, and then writing about it.”
It is this enthusiasm that Victoria-based band member Mike Deeth enjoys about being in Iraqis in Pajamas, whose third member is Chris Belin.
“Loolwa and Chris are both easy-going, creative people. The energy is very positive, which makes collaborating with them fun and organic,” Deeth told the Independent. “Further, I appreciate the passion Loolwa has for the subject matter she writes about. One thing I always struggled with as a musician is ‘What do I have to say?’ At the end of the day, I’m a privileged guy who has never had to face oppression, hate, war or genocide. I have a lot of respect for artists who have experienced darker parts of humanity and have the courage to bring that perspective into their art.”
Born in Toronto, Deeth, who is not Jewish, spent most of his adolescence in Calgary, and moved to Vancouver Island when he was 18. He first picked up a guitar a few years earlier and has been playing ever since. “I was in my first band at 18 and played in bands throughout my 20s. For the past several years, I have been mainly focused on recording,” he said.
Mike Deeth (photo from Mike Deeth)
Deeth got hooked on music production in his teens, getting his first digital recorder at age 16. “I still remember pulling all-nighters with friends trying to write songs and get ideas down on tape. Production was always fascinating to me, as I could layer parts together into something bigger than I could ever play on my own.”
Deeth and Khazzoom met a couple of years ago through a Craigslist posting. “She was looking for a guitarist to contribute to an early version of her track ‘The Convert’s Quest,’” he explained, complimenting Khazzoom on the fact that she “puts her full heart into her songs.”
“I recorded some initial guitar demos and, about a year later, we reconnected and worked up the current releases,” he said.
Deeth adds guitar to the songs and completes the mix and master of the songs when they are ready for those steps. Khazzoom sings, writes and plays bass, while Belin – who lives in Pennsylvania – composes the drum parts and performs them.
Among his other music ventures, Deeth has “played the guitar with Bryce Allan, a country musician here on the island, and recorded a few tracks with him. I also work closely with Jennie Tuttle, another musician from Victoria. We have been recording together for seven or eight years now.”
For Deeth, “recording is such an interesting combination of art and science. I get to be musically creative, but I also get to play with cool machines, solve problems and think about gain staging, compression ratios and other technical aspects. I thoroughly enjoy both the artistic and scientific parts of the process – they work my mind in different ways.
“I also love how each project starts as a blank canvas and ends with a new piece of music out in the world. There are an almost infinite number of possibilities when recording a track (all the possible settings on the equipment, the subtleties of different instruments) and it always fascinates me how each song takes shape during the process.”
“Mike has an exquisite sensitivity in his musical composition, performance and recording,” said Khazzoom. “He’s not only super-talented and -skilled, but he’s warm, upbeat, enthusiastic and professional. It’s a joy to create music with him. As is the case with our drummer Chris Belin, Mike has an uncanny ability to capture the essence of the songs I write, to the point that I feel he is playing back to me the sound of my soul. I have literally sat and cried after hearing the mixes.”
For more on Khazzoom, visit khazzoom.com. For more on Deeth’s production and sound services, visit glowingwires.com.
Arash Khakpour and Alexis Fletcher première All my being is a dark verse (working title) Nov. 9-10 at the Rothstein Theatre. (photo by Peter Smida)
This year’s Chutzpah! Festival, which takes place Nov. 3-24, highlights Persian culture. The decision to feature Persian artists and stories – which was made well before the protests that erupted in Iran after the death of 22-year-old Mahsa Amini in the custody of the country’s morality police last month – seems even more important and relevant now.
“When the festival was offered the opportunity to support the creation of a new dance work by Alexis Fletcher in collaboration with Arash Khakpour, two Vancouver artists I admire and enjoy working with, I began to explore the resonances between Persian artists and stories of both Jewish and Muslim background,” Jessica Gutteridge, Chutzpah! artistic managing director, told the Independent. “These communities are culturally rich and have been intertwined for a very long time, while at the same time in lesser and greater political tension over the course of history. The festival’s mandate includes exploring what Jewish culture has in common with non-Jewish communities, and bringing artists of different backgrounds into conversation, so I thought it would be interesting to pull on this thread and bring Jewish and non-Jewish artists and culture into a themed programming thread.”
On Nov. 14, Jacqueline Saper, author of From Miniskirt to Hijab: A Girl in Revolutionary Iran, will speak and answer questions about Jewish life in Iran pre- and post-Revolution. (photo by Beking Joassain)
The two main programs of the thread are the Nov. 9-10 world première of Fletcher and Khakpour’s All my being is a dark verse (working title), which was developed through an artistic residency at the Norman and Annette Rothstein Theatre, and the Nov. 23 concert by Israeli singer, songwriter and actress Liraz Charhi.
Two digitally streamed programs round out the offerings. On Nov. 14, Jacqueline Saper, author of From Miniskirt to Hijab: A Girl in Revolutionary Iran, will speak and answer questions about Jewish life in Iran pre- and post-Revolution. And, on Nov. 21, Israeli chef Ayelet Latovich will present “a menu drawn from the Persian Jewish heritage of her mother’s family, which includes her grandmother, Kohrshid Hoshmand, a well-known and beloved figure in the Iranian community in Tel Aviv.”
“The festival has always provided public outreach opportunities, ranging from master classes to workshops to public conversations with artists,” said Gutteridge about these events. In addition to the Persian-themed outreach, Chutzpah! is partnering with rice & beans theatre’s DBLSPK program to offer a public workshop of Tamara Micner’s new Yiddish panto-in-progress, Yankl & Der Beanstalk.
On Nov. 21, Israeli chef Ayelet Latovich will present a menu drawn from the Persian Jewish heritage of her mother’s family. (photo by Sarit Goffen)
“We have a broad array of workshops to choose from as well,” Gutteridge continued. “David Buchbinder, Mark Rubin and Michael Ward-Bergeman will lead a creative workshop focused on making intercultural connections. Edith Tankus will bring clowning techniques for self-expression in a workshop tailored to parents and caregivers. Liz Glazer will lead a workshop on how to tap into your funny side and create comedy for the stage. And Maya Ciarrocchi will lead a series of workshops sharing the practice of Yizkor books as a means of remembering and mourning the lost people and places of our lives, that will lead into the final performance of the Site: Yizkor project.”
Life, love, longing, death
All my being is a dark verse is inspired by the poems of Forugh Farrokhzad (1934-1967), whose poetry was controversial enough in its expression of personal freedom to have been banned for almost a decade after the establishment of the Islamic republic in 1979. The project combines Farrokhzad’s poetry, the work of local artist Nargess Jalali Delia and the dance choreographed and performed by Fletcher and Khakpour. The shows will include a program of Persian storytelling curated by the Flame.
“I discovered Forugh’s poetry through Nargess, when I was helping her prepare for a visual art exhibit in 2020,” said Fletcher. “Nargess had a painting that captivated me, which I learned was inspired by Forugh’s beautiful poem, ‘Inaugurating the Garden.’ When I read the poem for the first time, I was moved to tears and felt so much of my own life inside Forugh’s words. From there, I started to research the work of this poet and felt viscerally connected to her work. When I began dreaming of creating a response through movement, I approached Arash – an artist I greatly admire and have always wanted to work with. We decided to create and perform together, and to bring together a mix of Persian and non-Persian artists to complete our team, including costume design, original music composition, lighting design, and translation work between Farsi and English.
“Both Arash and Nargess have welcomed me into their culture, language and their very personal connection with Forugh in the most generous of ways,” said Fletcher.
“I am excited to connect with an artist who comes from a completely different movement background from my own, and yet who shares so many of the same interests and curiosities about the place that dance holds in the world, what it can offer and how it can bring people together in unique ways,” said Khakpour.
“Growing up in Iran,” he continued, “I was reading Forugh’s poems at the young age of 11, even though I knew I wasn’t supposed to because her open-minded and dark-natured poems were not seen as ‘appropriate,’ and this experience had a profound effect on me. Forugh’s words were a revelation to read, something that someone wrote so many years ago and yet which seemed to speak directly to my fears and desires as if the words were both coming from me, and as if they were meant only for me.
“After moving to Canada at the age of 15,” he said, “I lost that connection to Forugh’s poetry, but now I am at a place that I feel the need to reconnect to her work again and integrate my love for her work, the knowledge and the sentiment it awakens in my dance practice.”
Currently, the pair are working with four of Farrokhzad’s poems: “The Wall,” “Reborn,” “Inaugurating the Garden” and “Window.”
“Forugh’s work is full of life, love and longing, yet full of death,” explained Khakpour. “I know from growing up in Iran that many people around me talked about her work as a forbidden reality, too forward, or too much – and the ways in which we should be talking, and the ways in which we should not be talking, as men and women. Forugh defied all of these binaries and all of this drew me to her magical poetry and body of work.
“As I was growing up, I have felt that similar feeling of defying the norms about myself, in terms of pursuing a dance career at all, as a man, which has many stigmas attached to it in my culture. I feel the same now as an artist at times.
“Forugh awakens the courage in us to be courageous,” he added. “This has always drawn me to Forugh’s work; her rigorous, rebellious nature has inspired many generations of artists since her death. Her writing, although being specific, is also timeless, transcends across cultures, and is full of humanity and love that goes beyond borders and ideologies. She longed for a world that could address and heal humanity’s pain.
“I think Alexis and I are drawn to Forugh and her work for these unapologetic tendencies and yet her humble nature of being, writing and expressing on the page. We strive for the same things in dance and choreography and long for a world that can address and heal its pain.”
“We both see dance as poetry in motion; a universal way of channeling poetry into the body and sharing that with the audience,” said Fletcher. “We believe this universality, along with the multidisciplinary and cross-cultural nature of this project, is a fertile ground that can draw new audiences to dance and connect different audiences to each other.”
Fletcher quoted from Rosanna Warren’s The Art of Translation: “The psychic health of an individual resides in the capacity to recognize and welcome the ‘Other.’” She explained that she and Khakpour “will use the act of translation as a practice of empathy; a way for artists and audiences to come together and lift the multiple veils of language, culture and ways of being that can obscure ‘the other,’ revealing the universality of our shared human experience, with language, visual art, dance and live performance as ways of ‘lifting the veil.’
“Expanding on the above,” she said, “we are curious about how we can use the practice of duet, including our partnership as performers, as a vehicle of exploration of ‘self’ and ‘other,’ and how this project can be a platform for this resonant conversation. This sparks our interest because, to execute duet skilfully and on an emotional level, one must delve into the other’s perspective more deeply…. We have the unique privilege of sharing this type of intimacy and connection with others as dancers because our bodies, especially in duet, are our physical and literal instruments: we must literally soften and yield our bodies and minds to give or receive the weight of another. We must take time to look into each other’s eyes and allow the other’s body to enter our private, personal space, learning what the impulses, dynamics, instincts and thought processes of that other person are. We must give each other patience and care for the relationship and choreography to work. We must acknowledge different subjective opinions and points of view. We feel that duet is a direct practice platform through which to investigate the myriad ways one can be in an empathic relationship with another.”
A dream come true
“Music in my life is the most important thing,” Charhi told the Independent. “When I started to create, to sing and to songwrite in Farsi, I knew that I had a message to be a little voice for the Iranian muted women. I knew that would be a continuation to the women from my family who are muted themselves. It wasn’t a question that I would do that. It’s not about me – I deeply feel I’m the pipe to tell a story.”
Liraz Charhi gives a special concert on Nov. 23 at the Rothstein Theatre. (photo by Shai Franco)
On Oct. 7, Charhi releases her third album in Farsi. Called Roya – a vision, a fantasy, a dream – she recorded it with Iranian musicians in Istanbul. “It was an extremely emotional journey I cannot even express with words,” she said, “but we made a wonderful album with wonderful meaning and we all share the same dreams together.”
Charhi collaborated secretly with several Iranian artists – singers, writers, instrumentalists – on her second album in Farsi. Secrecy was necessary because of the political situation.
“Recording my album Zan (woman in Farsi) and collaborating with Iranian musicians was a dream come true,” she said. “I felt that I can give and be artistically freed, especially because I felt that we needed to meet and to create together. [That] we love each other with no boundaries is a fact we wanted to spread to the world. There are bridges we can build despite this crazy situation and we have the power to make a change.”
Charhi chose the name Zan for that album, she said, “because it’s all about women’s freedom I sing about. Struggling and, on the other hand, rejoicing, singing and dancing, making little by little resolution, which is very, very relevant to what’s going on today in Iran.”
Charhi’s first Iranian album was Naz, which, she said means “coquettish manners.” It has been described as a “rebellious soundtrack.”
“It’s about being a good Iranian woman, using all her charm and politeness to get what she wants from her man and still stay determined,” she explained.
Charhi’s parents emigrated to Israel in the 1970s, before the Islamic Revolution, and Israel is where Charhi was born, in Ramla, in 1978.
“My music is built out of layers of my heritage, Israeli and Iranian,” she said, “and so I knew always I wanted to use traditional Iranian instruments and to mix them with my psychedelic music that I love so much [from] the Iranian ’70s.”
She also has released two albums in Hebrew, one self-titled, the other Rak Lecha Mutar(Only You’re Allowed).
As an actress, Charhi garnered a nomination for best actress from the Israeli Film Academy for her role in the 2004 Israeli film Turn Left at the End of the World. She has acted in theatre, television and film, including playing the love interest of Phillip Seymour Hoffman in the movie A Late Quartet (2012), the role of Frida Kahlo in a production by the national theatre of Israel (2017) and an Israeli Mossad agent in the Israeli TV series Tehran (2020).
For the full Chutzpah! schedule and tickets, visit chutzpahfestival.com or call 604-257-5145.
Team Canada’s 600-strong contingent marched into the opening ceremonies of the quadrennial Maccabiah Games July 14 at Jerusalem’s Teddy Coliseum. They were led by a trio of flagbearers – Toronto’s Molly Tissenbaum, a hockey goalie who has overcome serious health challenges to return to the ice, and Calgary twins Conaire and Nick Taub, volleyball players who are slated to enrol at the University of British Columbia in the fall. Canada sent the fourth largest team to the 21st “Jewish Olympics,” after Israel, the United States and Argentina.
The flag-bearing trio, their 600 teammates and about 10,000 others streamed into the stadium at the start of the largest-ever Maccabiah Games. Also on hand was an American visitor, President Joe Biden, who was the first U.S. leader to attend the event, flanked by Israel’s President Isaac Herzog and Prime Minister Yair Lapid.
The trio of leaders appeared jubilant, and no doubt there is a natural bond between Biden and Lapid that neither shares with either the former U.S. president Donald Trump or the once and possibly future Israeli prime minister Binyamin Netanyahu, who had a legendary bromance together.
While athletes began their friendly skirmishing for medals, the politicians began skirmishing themselves, around issues more existential than soccer scores.
Whatever personal affinity Biden and Lapid might share is at least partly restrained by reality. Lapid took over from Naftali Bennett as a sort of caretaker during the election campaign. Whether he remains leader after the votes are counted in November looks, at this point, less than likely.
Far more importantly, the two leaders disagree on the approach to Iran’s nuclear threat.
“Words will not stop them, Mr. President,” Lapid told Biden in their joint public remarks. “Diplomacy will not stop them. The only thing that will stop Iran is knowing that … if they continue to develop their nuclear program, the free world will use force. The only way to stop them is to put a credible military threat on the table.”
Biden has returned the United States to the Obama administration’s approach, aiming to revive the 2015 agreement between Iran and the West, which was supposed to slow that country’s march to nuclear capability. Trump withdrew the United States from the deal.
After Biden left Israel and headed to Saudi Arabia, words heated up dramatically Sunday. A top aide to the Iranian leader asserted that Iran already has the capability of creating a nuclear bomb but has chosen not to do so. In response, Aviv Kochavi, head of the Israel Defence Forces, responded with uninhibited forewarning.
“The IDF continues to prepare vigorously for an attack on Iran and must prepare for every development and every scenario,” Kochavi said, adding that, “preparing a military option against the Iranian nuclear program is a moral obligation and a national security order.” At the centre of the IDF’s preparations, he added, are “a variety of operational plans, the allocation of many resources, the acquisition of appropriate weapons, intelligence and training.”
Meanwhile, the inevitable moving pieces of Middle East politics continued shifting.
Biden walked a fine line, visually demonstrated by his choice to fist-bump rather than embrace the Saudi leader Mohammed bin Salman, who has on his hands the blood of dismembered journalist, author and Washington Post columnist Jamal Khashoggi, whose grisly murder at a Saudi consulate in Turkey shocked the world. Rumours of warming relations between Saudia Arabia and Israel – the rumours go from the opening of Saudi airspace to Israeli planes, to the full-on recognition of Israel – remain mostly that. Saudis reiterated the old orthodoxy that relations would never develop until there is a Palestinian state.
The United Arab Emirates, meanwhile, is openly mooting returning to diplomatic relations with Iran after six years. The UAE has sided with the Saudis against Iran in the ongoing proxy war in Yemen, but the Emiratis are making noises about “deescalating” tensions.
Back in Israel, meanwhile, divergent approaches to issues foreign and domestic are very much on the front burner. With the diplomatic niceties of welcoming the leader of Israel’s most important ally now in the past, parties are holding their primaries to select their leaders and lists for the Nov. 1 vote – the fifth since April 2019 – and forming new partnerships that reshape the landscape in advance of the nitty-gritty campaigning to come.
Much closer in time, the Maccabiah Games close Tuesday, with final results expected to be more definitive than the national election, which will almost inevitably end up with weeks of negotiations leading to a tenuous coalition government.
As meaningful and fun as most of the Jewish holidays are, there’s a lot of running around, cleaning, cooking and other preparation that generally goes into them. Three recently published children’s books – two about Passover and one on Shabbat – capture the joys of the holidays, and the craziness that can sometimes precede them.
Passover, Here I Come!, written by D.J. Steinberg and illustrated by Emanuel Wiemans was put out this year by Grosset & Dunlap. It’s a compilation of short poems, all related to Passover, from “Scrub-A-Dub-Dub!” preparations to “Bye-bye, Bread!” and “Hello, Matzoh!” it goes through pretty much every aspect, including the Passover story, what’s for dinner and the search for the afikomen.
“Made by Me!” is about making up the seder plate, and all the plate’s items and their symbols are noted alongside the illustration. For the poem “Our Magic Table,” the drawings and words again combine to wonderful effect. We see the tables from set-up to guest-filled, and the typesetting, leaving gaps between the letters forming the words “g r o w s a n d g r o w s,” communicate the truly magic nature of a Pesach table that does seem to fit an enormous number of people, when we’re lucky to have many friends and family join in our celebrations.
Steinberg’s verse and Wiemans’ drawings work well together, simultaneously entertaining and teaching. The basics of Passover are all covered in Passover, Here I Come! which even includes a recipe for Mom’s Matzoh Brei after the four-line poem “World’s Best Breakfast.”
A Persian Passover (Kalaniot Books) by Etan Basseri with illustrations by Rashin Kheiriyeh, also contains a recipe – for hallaq, which is Persian-style charoset. In addition, the end of the book features a brief description of Passover and what goes on the seder plate, a glossary of Persian and Hebrew words used in the story, and a couple of paragraphs on Jews in Persia, known today as Iran, though, notes Basseri, “the culture and main language of this region is still called ‘Persian.’”
Set in Iran in the 1950s, A Persian Passover follows siblings Ezra and Roza, who are helping their family get ready for the holiday. Everyone is put to work and Roza is finally old to enough to accompany older brother Ezra to the synagogue, where families bring their own flour “to be mixed, rolled and baked into soft, delicious matzah.” Though older, Ezra is not necessarily wiser and he’s still a kid, with energy to burn. Not having learned from an earlier collision with a neighbour – as he ran a lap around the house, being timed by Roza – Ezra once again asks Roza to measure how fast he can run to the next street corner, freshly baked matzah in hand.
“But he didn’t see the rut in the road up ahead. ‘Oof!’ yelped Ezra as he tripped and fell. Splat! went the bag of matzah as it dropped into a puddle.
“‘The matzah!’ they exclaimed together.
“‘That was all the matzah we had for the week. Now it’s gone. What will we tell Mama and Baba?’ asked Roza.” (The glossary notes that baba means dad in Persian.)
Ezra and Roza set out to find replacement matzah before the seder starts, and we meet more of the neighbourhood folk. Hopefully, it won’t be too much of a spoiler to know that the kids succeed – not only receiving kindness, but also showing kindness to others along the way.
The last book that recently came out has to do with matzah, but not with Passover, which is why it’s included in this brief roundup even though it’s about Shabbat. Good for year-round reading, Bubbe and Bart’s Matzoh Ball Mayhem, written by Bonnie Grubman and illustrated by Deborah Melmon, was published by Seattle’s Intergalactic Afikoman last November. Created by two dog lovers, it begins, “This is Bubbe’s story. Believe me that it’s true. Her puppy loved each Friday night like Jewish puppies do.
“When Bubbe made her matzoh balls, Bart was at her feet, waiting for a ball to fall, and not some doggie treat.”
While Bart’s begging doesn’t achieve the desired result, he does get to eat all the matzah balls he’s able to catch. Bubbling away in the pot on the stove, the matzah balls grow so large that they blow off the lid and zoom all over the room. Not to be held back by “a better lid, and some very sticky tape,” the balls continue to fly. And we get to count them as they do. (Another spoiler alert: Bart gets to eat an awful lot of matzah.)
Eventually, with a little magic, calmness is restored and dog and house are cleaned up in time for Shabbat dinner with the family.
Bubbe and Bart’s Matzoh Ball Mayhem ends with a couple of paragraphs about Shabbat, “a very special day of the week,” and a short glossary.
While my Barbari bread (above) looked nothing like the photo from the book (below), as my dough was too wet to allow for the requisite creation of vertical ridges, it tasted really good nonetheless. (photo by Cynthia Ramsay)
I was very excited to try out Persian Delicacies: Jewish Foods for Special Occasions by Angela Cohan. Living on the North Shore, I have met several people whose heritage is Iranian, though not Jewish, and I’ve eaten Persian food, but never made it. The idea that I could make my own “delicacies” was enticing.
Cohan is a Los Angeles-based writer and editor, so it’s no wonder that her cookbook reads well and looks fabulous. The layout is pretty and logical. The colour photos are beautiful. This is a great gift for a seasoned cook, or a cook that’s willing to have a few misadventures and so-so meals before they get the hang of things.
Barbara bread as it’s supposed to look. (photo from Persian Delicacies)
In the preface, Cohan, who moved to the United States with her family in 1979, writes, “I was inspired to compile the specialty recipes of my mother, my late grandmothers, and other family members and friends in this cookbook. This book is as much theirs as it is mine. It is a tribute to my heritage as a Persian woman as well as an evolution of recipes since living and cooking in the United States for the past three decades.”
I remember watching my grandmother cooking. She seemed to randomly toss in this, shake in that. It appeared to the uneducated eye that measurements were not measured at all. I get the feeling that this is somewhat the case with this cookbook. Guesstimates in many cases rather than meticulously precise cups, teaspoons, etc. And the assumption that one knows how long to knead dough, for example.
The recipes I tried – dolmeh (stuffed peppers), Barbari bread and sesame brittle – seemed easy enough. I chose them because I was on a deadline and had all the ingredients at hand. I will continue to explore this cookbook, as my first foray was promising but not that successful, in part because, instead of adapting the measures, I decided to follow the instructions come what may. So, even though I knew that my pepper stuffing was too bland, my dough was too sticky and my brittle too bendy, I made them as per the recipes. Everything was edible but nothing was delicious. Next time, I will use, respectively, another pinch of salt or another clove of garlic, more flour (or less water) and less honey. I can’t wait to try my hand at making kuku seeb zamini(potato frittata), tahdig (crispy rice), turmeric chicken, lavash bread and more.
Each recipe in Persian Delicacies comes with a brief description, either of what it is, from where or whom it came, and other useful tidbits. At the end of the book, there is some information on special occasions, with the examples of Norouz, the start of the Persian New Year, and Shabbat, and traditions associated with them, in particular as they relate to foods. A glossary of many of the ingredients and their health benefits is an interesting component.
DOLMEH (serves 3)
3 or 4 bell peppers 1/4 cup olive oil 1 cup diced yellow onion 1/2 cup scallions, chopped 2 cloves garlic, peeled and finely chopped or minced 1 cup quinoa, cooked 1/2 cup fresh dill, finely chopped 1/2 cup fresh tarragon or parsley, finely chopped 1 tsp ground cinnamon (optional) salt and pepper to taste
Preheat the oven to 350°F.
Cut the top of the bell peppers and remove the seeds and veins.
Heat the oil in a skillet or a saucepan. Add the onions, scallions, and garlic and cook until soft, about four minutes.
Add the quinoa, dill and tarragon and season with salt and pepper. Remove from heat.
Spoon the quinoa mixture into the peppers. Place the stuffed peppers on a baking tray or baking dish and bake for 45 minutes. Add salt and pepper to taste. Top with chopped parsley and cinnamon (optional).
BARBARI BREAD (serves 4)
1 1/2 cups warm water 1/2 tsp active dry yeast 3 cups all-purpose flour plus 1 tbsp additional flour 1 tsp salt 3 tbsp water 1/4 cup sesame seeds
Add the yeast to the warm water, stir, and set aside.
In a large bowl, combine the flour and salt. Add the yeast mixture. Knead the dough on a flat surface.
Place the dough in a bowl and cover with plastic wrap. Let it rise for an hour.
Preheat the oven to 325°F.
In a small saucepan, stir one tablespoon flour and three tablespoons water over a medium-low heat.
Uncover the risen dough, cut into four pieces, and roll out in an oval shape using a rolling pin.
Place the dough on a cookie sheet. Using your finger or a small knife, create vertical ridges on the dough. Brush with the flour and water mixture. Sprinkle with sesame seeds.
A poster in Marseille, France, in July 2020, calling for Nasrin Sotoudeh’s release from prison.
The National Council of Jewish Women of Canada spotlighted the remarkable story of Iranian lawyer and human rights activist Nasrin Sotoudeh during a showing of the eponymously titled film, Nasrin, on Jan. 10.
Narrated by actress Olivia Colman, the film takes us into Sotoudeh’s life in Tehran, where she has been a stalwart in defending a wide array of people: political activists, women who refused to wear a hijab, members of the religiously oppressed Baha’i faith, and prisoners sentenced to the death penalty for crimes allegedly committed while they were minors. Her work has come with a tremendous amount of personal sacrifice, including prolonged periods in jail.
Among the notable cases brought up in the film is that of Narges Hosseini, who, in 2018, stood on an electricity box on Tehran’s Revolution Street and removed her headscarf to protest Iran’s mandatory hijab law. She was immediately arrested, and Sotoudeh soon took up her cause. At her trial, the prosecutor claimed she was trying to “encourage corruption through the removal of the hijab in public.”
Iranian filmmaker Jafar Panahi is another of Sotoudeh’s clients. In 2010, Panahi was given a 20-year ban on making films, but he has nonetheless continued to create widely praised cinematic works, such as Taxi, in which he played a Tehran taxi driver – Sotoudeh was one of his passengers. The movie won the top prize at the 65th Berlin International Film Festival in 2015. Together with Sotoudeh, Panahi was co-winner of the European Parliament’s Sakharov Prize for Freedom of Thought in 2012.
And there is the unassuming hero we encounter in Sotoudeh’s husband, Reza Khandan. His unflagging loyalty to his wife and family is underscored throughout the film. He, too, has been imprisoned several times, most recently from September to December 2018, after he wrote about human rights violations in Iran on Facebook. He was accused of operating against Iran’s national security by backing the “anti-hijab” movement. Khandan currently faces a six-year prison sentence.
The film relies on secret footage, made possible by intrepid camerapeople within Iran who took on incredible risk to record Sotoudeh in both her professional and private lives. In the midst of filming, in June 2018, Sotoudeh was arrested for representing several women protesting Iran’s mandatory hijab law. Due to health concerns, she was briefly released from prison late last year, but has since been incarcerated again.
During Sotoudeh’s furlough, she was scheduled to undergo tests to monitor her heart. At one time, she was moved to intensive care in a Tehran hospital after a 46-day hunger strike, protesting the conditions political prisoners in Iran have to endure. She also has pressed for their release during the time of the pandemic.
Shortly before her own release from the Qarchak women’s prison, Sotoudeh contracted COVID-19 but has since recovered.
Following the film’s presentation, a panel discussion took place with the film’s director, Jeff Kaufman; its producer, Marcia Ross; activist Shaparak Shajarizadeh; and former Canadian minister of justice Irwin Cotler. The discussion was led by NCJWC president Debbie Wasserman.
“One of the intents of the film is to say it is not just about Sotoudeh and Iran, it is about applying her standards to our countries and ourselves. Let’s take her example and make it global,” said Kaufman.
The filmmakers said they wanted to tell Sotoudeh’s story because she personifies a commitment to democracy and justice, and represents the power of women to shape society. Further, Sotoudeh holds a deep conviction that people of all faiths and backgrounds deserve equal opportunity and protection.
Both Kaufman and Ross spoke of the extraordinary caution taken to preserve the anonymity and security of those shooting the footage in Iran.
Asked about her reaction upon seeing the screening, Shajarizadeh said, “I cried the whole time. We could see ourselves in every minute of the movement.” Shajarizadeh, who now resides in Canada, was a women’s rights activist and political prisoner in Iran – she fought against the country’s mandatory hijab law for women.
“Nasrin is not only the embodiment of human rights in Iran, but a looking-glass into the persecution of all those who are imprisoned in Iran,” Cotler said.
Cotler advocated for “showing the film as much as we can, and [to] have the sort of conversations we are having now, and mobilize the different constituencies that she has been helping.”
Ross said the film will be out later in the year on Amazon and iTunes.
Established in 1897, NCJWC is a voluntary organization dedicated to furthering human welfare in the Jewish and general communities locally, nationally and internationally. To learn more, visit ncjwc.org.
Sam Margolishas written for the Globe and Mail, the National Post, UPI and MSNBC.
Laureen and Stephen Harper, centre left, and Daniel Atar, KKL-JNF world chair, centre, were among those who cut the ribbon at the Nov. 6 official opening of the Stephen J. Harper Hula Valley Bird Sanctuary Visitor and Education Centre. (photo by Michael Huri)
Former Canadian prime minister Stephen Harper was in Israel earlier this month for a four-day visit with a delegation from the Jewish National Fund of Canada, where he took part in the dedication of the new visitors centre at JNF Lake Hula Park in northern Israel, which is named in his honour.
Budgeted at $25 million Cdn, one-fifth of which was raised by the JNF of Canada, the Stephen J. Harper Hula Valley Bird Sanctuary Visitor and Education Centre south of Qiryat Shmona is seen as “the flagship project of Keren-Kayemet L’Yisrael (KKL),” the JNF’s Israel-based sister organization. Harper contributed to the cost of the project, and the auditorium is named for his wife, Laureen, in recognition of her service to Canada, friendship to Israel and dedication to the preservation of nature and wildlife.
Stephen Harper was honoured at the JNF of Canada’s 2013 Negev Dinner in Toronto. At the time, then-JNF chief executive officer Josh Cooper said: “Given his well-documented love of animals, we felt this would be an appropriate project to present to him.”
Now completed, six years after fundraising began, the facility promises to transform the experience of ornithologists and bird watchers who come to the Hula Valley. There, they can watch the twice-a-year seasonal migration of 500 million birds from more than 500 species, from Europe and Central Asia to Africa, and back.
The Hula Valley, located in the shadow of Mount Hermon, is considered the crown jewel of Israeli conservation efforts. Known in the Bible as Merom, up until the 1950s, it was full of swampland that was notorious for breeding malaria-carrying anopheles mosquitoes. In the 1950s, the wetlands were drained, with the hope that fertile farmland would result; instead, environmental devastation and the extinction of some indigenous species followed. Farming in the area was never successful and JNF ultimately decided to reflood part of the former lake.
Known in Hebrew as Agamon Hula (Little Lake Hula), the flat valley is filled with an array of birds, including cranes, pelicans and eagles. Visitors can observe the birds and also cycle around the site.
***
At the gala dinner Nov. 5 in honour of Harper, which took place at the Waldorf Astoria Hotel in Jerusalem, Israeli Prime Minister Binyamin Netanyahu spoke about the danger Iran’s nuclear ambitions poses for Israel, the Middle East and the West.
“Iran expands its aggression everywhere. It seeks to envelop Israel. It seeks to threaten Israel. It seeks to destroy Israel. We fight back,” Netanyahu said. “I also want to say, given Iran’s efforts to expand its nuclear weapons program, expand its enrichment of uranium for making atomic bombs, I repeat here once again – we will never let Iran develop nuclear weapons. This is not only for our security and our future; it’s for the future of the Middle East and the world.”
Netanyahu was particularly concerned about Tehran’s plans to start injecting UF6 (uranium hexafluoride) gas into the centrifuges to enrich uranium to five percent at the heavily fortified underground Fordow Fuel Enrichment Plant, located inside a mountain 32 kilometres northeast of the Shi’ite holy city of Qom.
Earlier in the day, Iran’s nuclear chief Ali Akbar Salehi promised that his country would violate the element of the 2015 nuclear deal known as the Joint Comprehensive Plan of Action, which Tehran had worked out with the P5+1 (China, France, Germany, Russia, the United Kingdom and the United States). The United States left the deal last year and has imposed sanctions on Iran in an attempt to force it to renegotiate the document. Tehran, in turn, has begun violating the deal in an attempt to pressure the United States to recall the sanctions.
Under the 2015 agreement between Iran and world powers, Iran agreed to turn Fordow into a “nuclear, physics and technology centre,” where 1,044 centrifuges would be used for purposes other than enrichment, such as producing stable isotopes, which have a variety of civil uses. The deal bans nuclear material from Fordow and, by injecting UF6 into centrifuges, the facility will become an active nuclear site rather than a research plant as permitted under the pact.
***
Since leaving Parliament after the Conservative party was defeated in the 2015 federal election by the Liberals, Harper has become president of the Awz venture capital fund advisory committee. The fund, founded by managing partner Yaron Ashkenazi, specializes in investments in Israeli security and intelligence startups, and manages $100 million in assets. The fund has invested in 12 companies to date, according to the Israeli financial website Globes.
Harper, an enthusiastic supporter of Israel, has visited many times. On Jan. 20, 2014, he addressed the Knesset plenum, saying: “It is, thus, a Canadian tradition to stand for what is principled and just, regardless of whether it is convenient or popular. But, I would argue, support today for the Jewish state of Israel is more than a moral imperative, it is also of strategic importance, also a matter of our own, long-term interests…. For too many nations, it is still easier to scapegoat Israel than to emulate your success.”
About the education centre, he said in a statement, “This park is one of the greatest restoration stories, just like this country is to the Jewish people. It is a magnificent honour to have this centre named after my name, and I am grateful for this beautiful occasion.”
Gil Zoharis a writer and tour guide in Jerusalem, Israel.
ראש ממשלת קנדה, ג’סטין טרודו, והמתוקשרת של נשיא ארה”ב, דונלד טראמפ, 2017. (צילום: @WhiteHouse)
ראש ממשלת קנדה, ג’סטין טרודו, הביע צער על החלטתו המתוקשרת של נשיא ארה”ב, דונלד טראמפ, לבטל את הסכם הגרעין עם איראן שהושג ב-2015.
טרודו הודיע כי קנדה תמשיך לתמוך בהסכם הקיים, בו תומכות גם מדינות אירופה, גרמניה, בריטניה, צרפת, סין ורוסיה. טרודו אמר עוד שההסכם עם איראן אינו מושלם, אך הוא מונע ממדינה זו לפתח נשק אטומי. לדבריו קנדה תמשיך לתמוך בהסכם כמו גם מדינות נאט”ו האחרות. טרודו הוסיף עוד: “אנו מכבדים החלטות של מדינות אחרות לגבי מדיניות החוץ שלהן. אבל לגבי המטרות של קנדה, אנו נקבל החלטות לגבי מדיניות חוץ שלנו כאן באוטווה, ולא בוושינגטון או בכל מקום אחר”.
טרודו ציין עוד כי הוא בטוח שנושא ההסכם עם איראן יעמוד בראש הדיונים של מדינות הג’י-7 שיתכנסו לפגישה השנתית שלהן, בחודש הבא בקנדה.
אפסילור זכתה במכרז הצבא הקנדי שהיקפו כארבעה מיליון דולר
חברת אפסילור מישראל זכתה במכרז של משרד הביטחון הקנדי, עבור אספקת פתרונות לטעינת סוללות וניהול אנרגיה. זאת עבור פרויקט “החייל הדיגיטלי” של צבאה קנדה. אפסילור תפתח ותספק מטען חדשני, שיוכל לטעון במקביל שתיים עשרה סוללות עתירות אנרגיה של מערכת “החייל הדיגיטלי”.
בשלב ראשון תספק אפסילור ארבע מאות מטענים רב ערוציים, שירותים וחלקי חילוף, בהיקף של כשלושה מיליון דולר ארה”ב (כארבעה מיליון דולר קנדי). בחוזה יש גם אופציה להכפלת מספר מטענים במהלך ארבע השנים הקרובות.
ועדת המכרזים של הצבא הקנדי בחרה באפסילור שהצעתה זכתה לניקוד טכני גבוה ומחיר תחרותי. וכן לאור הניסיון המוכח של אפסילור בפיתוח
מטענים צבאיים מתקדמים עבור צה”ל וצבאות נוספים במדינות המערב.
צבא קנדה נחשב לאחד הצבאות הפעילים ביותר מקרב קבוצת המדינות החברות בברית נאט”ו. במשך שנים רבות הצבא הקנדי נטל חלק משמעותי בפעילות, כמעט בכל אזורי העימות אשר בהם פעלה הברית הצפון אטלנטית. אזורי העימות כללו בין היתר את: יוגוסלביה, עיראק ואפגניסטן. במקביל הצבא הקנדי השתתף גם במשימות שונות של כוחות שמירת השלום של האו”ם.
במסגרת ההסכם בין אפסילור לצבא הקנדי יצויידו אלפי חיילים לוחמים קנדיים, במערכות לבישה של “החייל דיגיטלי”, כולל אמצעים מתוחכמים של אמצעי שליטה ובקרה, מערכת לניהול קרב, אמצעי תצפיות, הרכשת מטרות, תקשורת וכו’.
מאחר ורכיבי האנרגיה במערכת נדרשים לתמוך בכל הציוד האלקטרוני הלביש במשימות ממושכות של החיילים, זוהה נושא טעינת הסוללות כקריטי. לכן צבא קנדה פרסם את המכרז המיוחד לפיתוח ולייצור מטען ייעודי, שיעמוד במפרט גבוה במיוחד של דרישות טכניות ומבצעיות. כך למשל המטען נדרש לטעון מספר רב של סוללות במהירות, לפעול בשטח וכן תוך כדי נסיעה ברכב. וגם להתחבר להזנה ממקורות אנרגיה מגוונים, כדוגמת רשתות חשמל בכל רחבי העולם, כלי רכב שונים, ואפילו סוללות חד פעמיות. המטען החדש יהיה אטום לחלוטין למים ואבק, ויפעל באזורי אקלים שונים בעולם. המטען החדש,
שפיתחה אפסילור תומך בסוללות לבישות, שנמצאות בשימוש בצבאי הקנדי, וכן גם בצבאות נוספים של מדינות החברות בנאט”ו.
מנכ”ל אפסילור, אלכס סטפנסקי, אומר בתגובה לזכייה במכרז: “אנו גאים שהחברה שלנו נבחרה על ידי צבא קנדי, להיות חלק מהתוכניות היוקרתית של “החייל הדיגיטלי””. הוא הוסיף: “הזכייה במרכז של צבא קנדה ממחישה את התחרותיות ואת איכות פיתוח והמוצרים שלנו. אנו רואים בפרוייקט זה מקדם חשוב, שיסייע לנו להתמודד על מכרזים נוספים בקנדה, וכן בצבאות אחרים בנאט”ו ורחבי העולם”.
Purim is a time when we play with identities, dress in disguises and revel in deceptions. There is an aspect of great fun to this holiday, and there are lessons that are deeply serious.
One of the timeless aspects of the Jewish calendar is that, while the dates and texts may remain the same – Purim again will start the night of 13 Adar and the Megillah will not have changed – we, the readers, are different than we were last year and the circumstances of the world we live in have changed since our last reading.
As with many Jewish holidays, Purim includes a lesson about the importance of continuity and survival against existential enemies. This is, sadly, an enduring reality.
Just this week, at the annual conference on international security policy, in Munich, Germany, Israel’s Prime Minister Binyamin Netanyahu reiterated the danger posed by Iran’s nuclear program and warned that regime not to underestimate Israel’s resolve in confronting it.
There are other threats, as well, in the form of growing antisemitism among far-right parties in Europe and in the British Labour Party, online and in the number of antisemitic incidents reported in North America and elsewhere.
We are still trying to uncover whether antisemitism played a role in the mass murder of 17 students and teachers at a Parkland, Fla., school last week. The tragedy led a white supremacist group to claim the perpetrator was one of theirs, but, despite being widely reported, this claim has been debunked.
Five of the 17 victims were Jewish – the high school is in an area with a significant Jewish population – and the murderer’s online rantings were teeming with hatred of African-Americans and Jews. In one online chat, he claimed that his birth mother was Jewish and that he was glad he never met her. Per usual, we are engaged in debating what motivated the perpetrator – easy access to guns, mental illness, pure evil or various combinations of these. As usual, we will engage in a nearly identical cycle of shock, grief, argument and ultimate apathy the next time this occurs, and the next time.
Threats of another kind are also top news right now, with charges recently laid against a number of Russian individuals and groups who are alleged to have interfered with the 2016 U.S. presidential election. The deception appears to have involved creating and stealing social media identities, as well as starting fake political pages intended to divide Americans. A rally against Islam, in Houston, Tex., in May 2016, was met with a counter-rally against Islamophobia. Both rallies, it now appears, were incited by Russian troublemakers.
More seriously still, the allegation is that deceptive and outright false statements were made in online posts and advertisements, which had the apparent impact of suppressing support for Hillary Clinton in key swing states, thus electing Donald Trump president. As each new allegation and example of proof has arisen, Trump has misrepresented reality, deflecting charges that his campaign (including members of his family) was engaged in collusion with the Russians, and claiming vindication at every turn.
A better president would pledge to get to the bottom of whatever is (or isn’t) real in the matter. Instead, this president plays partisan games and, unlike King Ahasuerus, does not take wise counsel willingly.
So, identity, disguises and deception are not only central to our Purimspiels, but woven through our news cycles and sensibilities every day, demonstrating again the eternal relevance of our narratives. Each year, on this holiday as on other days, we recognize and gird ourselves against the threats to our identity and existence. But we also celebrate our survival and rejoice in our not insignificant good fortune.
