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Tag: Ireland

Cultural constellations

Lindsey Tyne Johnson has a new show at the Zack Gallery: The Irish Mazzaroth & Hebrew Spelled Backwards. It comprises two separate parts.

Hebrew Spelled Backwards debuted at the Kamloops Art Gallery in 2023. It is a series of illustrations in which the artist explores her Jewish heritage.

“When the show finished in Kamloops, the Zack Gallery director contacted me,” Johnson told the Independent. “But the show had only seven pieces, and the Zack Gallery is large. It needed more art.”

At about the same time, Johnson decided to delve deeper into her ethnic roots. “My mother’s family were Irish Jews,” she said. “Not a usual combination. I went to Ireland in February 2024 to find out more.”     

She was fascinated by what she discovered. “Jews appeared in Ireland in the 1500s,” she shared. “Later, antisemitism forced many of them to leave, but they came back again. Then, there was a wave of Jews who came to Ireland and Northern Ireland from Russia in the beginning of the 20th century – they were escaping pogroms. Someone tricked them, sold them tickets to New York, but delivered them to Ireland instead and kicked them off the ship there. Some persisted in traveling to America, but others settled in Ireland. And then, there were the Jewish children escaping the Holocaust in Europe, Ireland took them in.”        

When Johnson visited the Irish Jewish Museum in Dublin, she found a number of her ancestors. “Their names were all written up in the Book of Irish Jewry there,” she explained. “The museum staff asked me if I wanted my name to be added to the new edition of the book. Of course, I said yes.”

The second part of the show, Irish Mazzaroth, started taking shape in her mind while she was in Ireland. The 12 black and white illustrations on the gallery walls reflect Johnson’s take on the zodiac’s traditional imagery. Mazzaroth means constellations in Hebrew.

Both Jewish and Irish lore have a long record of zodiac interpretations, from Greco-Roman mythology to the Zodiac Wheel, the centrepiece of the sixth-century mosaic at Beit Alpha in Israel. 

image - “Virgo” by Lindsey Tyne Johnson, part of Johnson’s solo exhibit at the Zack Gallery until May 9
“Virgo” by Lindsey Tyne Johnson, part of Johnson’s solo exhibit at the Zack Gallery until May 9.

Johnson, a young Canadian artist, has succeeded in meshing seamlessly Celtic symbolism and Jewish mysticism into a series of computer illustrations that are uniquely hers. 

“I started the first one in January. I finished the last one just before the show,” she said. “Each one is a well-known astrological sign, and each involves some aspects of both Jewish and Irish culture.” 

Every illustration is a whimsical little story, a playful tale that connects all earth cultures to one another. The images are clean and austere, uncluttered by unnecessary details. The twin girls in Gemini smile at the viewer. In front of them are Shabbat candles and a challah. Behind them, a leafy tree rises in the Irish countryside. Their quiet joy is unmistakable. 

On the other hand, the lone girl in Scorpio is solemnly considering the riches of ancient books in the famous Old Library in Trinity College in Dublin. She seems breathless with excitement at the abundance of choices in front of her, her braid curling up defiantly like a scorpion’s tail. The Jewish thirst for knowledge is given form in the context of the historical Irish library.

In another famous location in Dublin, the Temple Bar pub, Johnson features, in Virgo, an Irish Jewish woman playing a fiddle, merging lively Jewish klezmer and Celtic tunes.

image - “Leo” by Lindsey Tyne Johnson
“Leo” by Lindsey Tyne Johnson.

In Leo, the backdrop is grimmer. It depicts the Crumlin Road Gaol, hinting at the political strife in Ireland, while the man in front reminds us of the story of Daniel and the lions. “One of my distant relatives worked as a prison guard there,” Johnson said. 

The frames of every illustration are identical: a rounded rectangle of Celtic knots, tied together at the top by a Magen David, which also emphasizes the affinity of two cultures.

The Irish Mazzaroth & Hebrew Spelled Backwards is on display at the Zack Gallery until May 9. To read more about Johnson and Hebrew Spelled Backwards, go to jewishindependent.ca/artfully-exploring-heritage. 

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

Posted on April 12, 2024April 10, 2024Author Olga LivshinCategories Visual ArtsTags culture, Hebrew Spelled Backwards, heritage, Ireland, Irish Mazzaroth, Judaism, Lindsey Tyne Johnson, Zacl Gallery
Once will be enough

Once will be enough

Gili Roskies and Adrian Glynn McMorran in Once at Granville Island Stage. (photo by Emily Cooper)

Walking into the Arts Club Theatre’s Granville Island Stage and seeing a bar set up on stage is usually not a big deal. But when it turns out that the bar is a working bar for theatre-goers, well, that is a nice twist.

Not only can you go up on stage to buy your drink, the cast of the play (musicians all) hang out and mingle and eventually start playing instruments as patrons stand about chatting. Then, as audience members make their way to their seats, just a few movements on stage get the set ready for the first scene.

Once is set in Dublin’s music scene and opens with the male lead, known only as “Guy” (Adrian Glynn McMorran), singing and playing guitar despondently in a bar. “Girl” (Jewish community member Gili Roskies) admires his singing and starts up a conversation about his songs. He explains that he wrote them for a girlfriend who left him and moved to New York, and now he’s giving up his music and devoting his time to working as a vacuum salesman. Girl convinces him to fix a vacuum she has and, as payment, she’ll play piano for him. They end up at a music store where the two sing the breakout hit “Falling Slowly.” Girl, a Czech immigrant, cannot afford her own piano, so the music storeowner lets her use his.

After that, Girl insinuates herself into Guy’s life. She bugs him to go after his former girlfriend and win her back with his songs, she signs him up for an open-mic night and she even makes an appointment with a banker on Guy’s behalf to get a loan to book a recording studio. (Though broke, with no collateral, Guy gets the loan by playing a song for the banker. Ahhh, if only that happened in real life.)

As to be expected, the two fall for each other, but keep things platonic, as Girl is actually married and might reconcile with her estranged husband; and, eventually, Guy sees the possibility of getting back with his girlfriend, too.

Despite the romantic settings and interactions between the two main characters, I was never fully engrossed in this play. I didn’t find the chemistry between Guy and Girl to be that captivating and I think I got somewhat annoyed by the mixed messages and constant back-and-forth of emotions demonstrated by Girl for Guy. Guy’s feelings for her were clear; Girl was all over the map.

There are also several long, convoluted stories that seem only to end in lame jokes, and some odd dance routines whose choreography I just didn’t get. In this case, as with many productions, I found the backstory more interesting.

Once is based on a 2007 Irish film in the musical drama genre. The sleeper hit was made for only $150,000 US and grossed more than $23 million US. Part of its success was no doubt due to winning audience awards at both the Sundance and Dublin film festivals, the Independent Spirit Award for best foreign film in 2007 and an Academy Award for best original song, “Falling Slowly,” in 2008. The soundtrack was nominated for a Grammy.

The musical did even better, winning eight of 11 Tony nominations on Broadway in 2012, including best musical, as well as a host of other awards for productions around the world.

“Falling Slowly” was written, composed and performed by the film’s co-stars, Glen Hansard and Markéta Irglová, specifically for the film and recorded by Hansard’s band, the Frames. Many of the other songs in the production were provided by Hansard and Irglová and gave them material to perform together in the years following the film’s release. The film’s director, John Carney, called Hansard and Irglová his Bogart and Bacall.

Unfortunately, that chemistry is nowhere to be found on stage at the Arts Club. Thankfully, their performance of “Falling Slowly” does justice to the original, and is one of the highlights of the play, as is an a cappella version of the song “Gold,” sung by the entire cast. The voices and musicianship are all of high quality and there is definitely sweetness in this play, but once was enough for me to see it.

Once runs until July 29 at the Arts Club Granville Island Stage. For tickets, visit artsclub.com.

Baila Lazarus is a Vancouver-based writer and principal media strategist at bailalazarus.com.

Format ImagePosted on July 6, 2018July 5, 2018Author Baila LazarusCategories Performing ArtsTags Arts Club, Gili Roskies, Ireland, musicals
A precious space in Ireland

A precious space in Ireland

Machzikei Hadas can be found on Rathmore Villas in Dublin. (photo from jewishgen.org)

When my bride and I lived in Dublin, we were strangers in a foreign land. Our refuges were the synagogues of the tiny Jewish community. It was there we found instant acceptance. We were in Dublin, escapees from the harsh extremes of temperature in the places where we used to live. Original products of Winnipeg, we had left Ottawa to pursue a life of retirement in Ireland. Recently married, we were getting to know each other again after leading separate lives since acquaintance in our teen years.

In Ireland, we benefited from the welcoming embrace of the country’s cradle-to-the grave social system, in spite of being alien residents. Seeking community associations, we joined a synagogue, the Dublin Jewish Progressive Congregation. It had the merit of permitting men and women to sit together, important to us at the time. However, we found that environment less fulfilling, and I began to attend another, more orthodox, establishment. Although it was in the main synagogue in Dublin where we had our Orthodox marriage – we were married previously by a justice in Canada and a progressive rabbi in Jerusalem – in the end, we found it, as well, less welcoming than we liked. Finally, we became firmly attached to a shtiebel, which is the subject of this memoir.

When I attended, Machzikei Hadas had maximum capacity of about 50 male worshippers. It was located in the annex of a house. Among the benches for seating were tables, which were used, after the services, for food and drink. About a third of the space was devoted to seating for women, behind a barrier with a curtained screen. Alcoves at the back had a small kitchen and a children’s playroom, with a door providing a separate entrance for women. A pulpit stood in the centre of the main room on the traditional raised area, used for reading from the Torah. The cantor, a volunteer from the group, led the services. The room was bare. The only adornments were a decorated cover for the cubicle where the scrolls were kept in the front of the room, and an embellished covering on the pulpit where the Torah was read.

The synagogue is managed by a group of about 10 men, with the assistance of some of their wives. The total membership is small. Aside from holidays, the congregation convenes once weekly, every Saturday morning. Ritual (Ashkenazi) is strictly observed. Men and women sit separately except for the Kiddush. When the time comes to eat and drink, men and women are seated cheek by jowl. One of the abiding attractions of this place is the generous table that is set after services each week, complete with bottles of Irish whiskey. Rarely are these returned to the cupboard with any contents. The participants look to salvation in their spirits and I have many times departed this place elevated in spirit, but somewhat the worse for wear.

The men in this congregation are of an independent-minded cast. They have resisted the blandishments of the main congregation in Dublin for decades, to maintain their independence. Every Saturday involves a struggle to ensure that the necessary 10 men are assembled for a formal service. Each attendee is precious, and his arrival is greeted with appreciation for his presence, as a member of a select group. Each regular has his appointed place to sit.

A unique feature of services is that they are often unruly, as the members exchange news and discuss notable occurrences during the past week. All join in the service at the appropriate places, but otherwise the exchange of news and views continues, nearly unabated, during their time in this place. I gloried in the down-to-earth atmosphere.

Members are chosen each week to mount the central platform, to have their name, and their father’s name, celebrated, in reading portions from designated chapter in the Torah. I was always thrilled to be called up, to have my father’s name announced. To me, it was as if my father could hear his name called out and he could witness that I was keeping his memory alive. Each time I had the opportunity, I loudly exclaimed the requisite prayer, to awaken my father from his slumbers.

Each of the principals in the synagogue I grew to know was in some way markedly distinct from my experience with any other group to which I have belonged. Each, in his way, was key to the successful operation of the synagogue. Attendance, management, security, accumulation of food and drink supplies, almost everyone played a role, often supplementing needs from their own pockets.

David, the secretary, a young man, seemed to be a prime mover. He carried the concerns of the synagogue in his mind at all times. Inhabiting the rough-and-tumble world of classic car sales, he was nonetheless devout in his observance.

Michael, the president, seemed to perform his role under David’s prompting, taking everything with collegial grace. More “laissez-faire,” he was an enthusiastic participant in the consumption of Irish whiskey. He often brought his beautiful, wilful, but adorable 5-year-old son with him to synagogue.

The triumvirate was rounded out by Terry, the inveterate cantor. A convert to Judaism, he progressed through the prayer agenda, in spite of the babble behind him, and would cheerfully give up his place to visiting presenters. With his American wife, Karen, he was a mainstay of the synagogue, and a fierce defender of all elements of ritual observance. We looked over our shoulders to see if he was watching when we transgressed. We are hoping and prayerfully expecting the Deity to be more lenient in His judgments of us than was Terry.

Melvin, my seatmate, took care that I did not blunder in my observance, using the right book, reading the right page. Richard, an Irish convert who spent time on kibbutz in Israel, sat behind us. A civil servant, he has shared with me the mysteries and intricacies of Irish bureaucracy and politics. Sturdy participants in the demolition of many a whisky container, I would gladly have them by my side, anywhere, whatever I had to face.

Joe, a truly lovable mensch, sat across the aisle. He and his brother Robbie, many years in Ireland, still bear the accents they brought with them from Slovakia. Purveyors of parchment, they are the synagogue Cohens, necessary for the reading of the scrolls. Robbie is the synagogue treasurer, openly eager for a tip on the stock market.

Alec sits at the back. He is a retired person of the legal profession and the real brains of our outfit. He was usually at the centre of discussions, dispensing wisdom and wit.

Monty was my real favorite, and we had a meeting of the minds. With him, I shared my deepest secrets and my tendency to violent extremism in defence of Israel. He sat far forward in splendid isolation, focused on his worship. He did occasionally join us for a bite and a wee dram. I am regularly in contact with him to this day, years after I have departed the Emerald Isle.

Eddie was a more recent returnee, coming from some other Irish place. A Levi, he played a ritual role. He was our mellifluous cantor on many occasions, generous with his time and effort. Enthusiastic of voice and social commentary, he disapproved of our unruly behavior in the back of the room. He appeared to be discomfited by too much public attention to the Jewish fact and the attention garnered by Israel’s struggle to survive. We have different views as to Jewish public policy, but he was often a cheerful addition to our services.

There are too many others to enter into detail. What a pleasure it was to have been to be a part of all this! How can I express fully the depth of my feeling of kinship, the strength of my appreciation for having been made so welcome within this community? The participants may have seemed at times cavalier in observance, but they cling fiercely to their synagogue and its perpetuation. I have been moved to tears there by my readings in the scrolls, and filled with joy, my enthusiasm raucous, in singing some of the prayers together with my fellow Jews. When we sang out together, my voice roared – I wished to sing louder and louder so the Divine would hear – and my heart soared to be there with my brothers in that place.

A stranger, I was embraced and made to feel a part of this tribal fellowship. There, I felt free to worship in my own way. There, one’s foibles might be the subject of critical humor, but they were accepted. Some of my best times in Ireland were spent in that place. I am grateful and thankful for all those who made that precious corner of Jewish life what it was. It remains with me always as something I seek in other congregations. I celebrate it and its members. Am Yisroel chai!

Max Roytenberg is a Vancouver-based poet, writer and blogger. His new book, Hero In My Own Eyes, is forthcoming.

Format ImagePosted on October 28, 2016October 27, 2016Author Max RoytenbergCategories Op-EdTags Ireland, synagogue, travel
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