I recently returned from Detroit, Mich., where I was the Team Vancouver-Galil Delegation Head at the JCC Maccabi Games (shameless plug: www.jccmaccabigames.org).
While there with my 22 teen athletes and artist, the ALS Ice Bucket Challenge was growing momentum faster than a rumored Robert Downey Jr. sighting at Comic Con.
To clarify for those living in the dark ages, the ALS Ice Bucket Challenge asks nominees to chose between donating $100 to ALS research or dump a bucket of ice water over their head. Each participant then nominates someone(people) else to accept the same challenge – with 24 hours to act.
The more dumping I saw around Maccabi Land – and the more I saw posted online – the more criticism I began to hear that challenged the validity and purpose of dumping ice on one’s head in the name of a good deed.
I admit, when I first came across the challenge on Facebook I commented, “It is great to see exactly what lengths folks will go to avoid donating money to charity.”
However, as I saw it pop up again and again, growing in epidemic numbers, I started to see the value in the endeavor. Awareness was growing and ALSA.org was receiving more donations in a week than they had previously collected in a year.
By the time the JCC Maccabi Games came along it was rampant. Everyone and their dog (literally) was being challenged and the kitchen at the JCC in West Bloomfield was struggling to make ice fast enough.
By the time I returned home Facebook became flooded with articles like THIS ONE by Scott Gilmore in Maclean’s Magazine suggesting that the cute marketing gimmick (which actually didn’t get initiated for that purpose) was a “horrible reason to donate.”
Gilmore presents a several valid points about ALS research not meeting the top standards of the three factors one should consider when choosing where to send their limited charitable dollars. It is argued ALS doesn’t present the largest need – it is classified a rare disease, ALS research wont offer your dollars the greatest influence and ALS is hardly the most urgent problem in the world today.
Another post on iflscience.com provides an info-graphic on which diseases cause the most deaths in the USA vs where Americans focus their donations. These posts are no-doubt littered with wise words and offer a valid sense of awareness on their own.
However, this is nothing new. iflscience.com‘s info-graphic is not based on facts that have come out just since the Ice Bucket Challenge kicked off. For various reasons – the largest of which is simply due to marketing successes and failures – rare and unique diseases have pulled in a larger piece of the philanthropic pie than the actual leading causes of death, like heart disease or diabetes.
What frustrated me with the timing of these articles is that, at least in the case of the ALS Ice Bucket Challenge, it is about much more than just targeting American donor dollars. Watching people all over the world connect, bond, laugh and share in the name of something good was a blessing that, quite frankly, we don’t see enough of. Watching my kids – and all of my friends’ kids – get in on the action felt like humanity took a deep breath of fresh air amid a time in which the globe has been filled with muck and tragedy.
Maybe ALS research got lucky that a clever gimmick came along and helped their cause. And maybe ALS isn’t the charity most in need today. But in the ALS Ice Bucket Challenge humanity got a win! Stop finding ways to take that away from us.
Crystal Wills in rehearsal for The Way They Walked Through the World. The work includes the use of more than 300 pairs of army boots. (photo by Christie Wood)
The female experience of war. This part of the description of choreographer Caitlin Griffin’s The Way They Walked Through the World – a contemporary dance piece set to première at the Scotiabank Dance Centre’s open house on Sept. 13 – particularly intrigues me.
Despite the number of conflicts taking place around the world, images of women are few and far between, except for the odd photo, in which the subject(s) is either screaming out in anguish or quietly wiping tears in mourning. Other images come to mind with more thought, but not many, and words also have fallen short in helping me understand my feelings about the violence in general, but my concern and sadness over the situation in Israel specifically. Perhaps a dance performance, its physicality, its abstract nature, will allow me to process some of the emotions that have, to this point, eluded identification, expression.
I have known Griffin for several years. I don’t know her well, but well enough to know that she is a very talented dancer and teacher – and a mensch. When she told me that she was applying to a program at Kibbutz Contemporary Dance Company, I was thrilled. When she came back from five months in Israel with a new work in progress, one inspired by her time there, I knew I would want to see it once it was ready to be shared publicly. Fortunately, while I missed an earlier version that was performed at the Firehall Arts Centre’s BC Buds showcase in May, a good friend attended. She was impressed, not only with the performance, but with Griffin; so much so that she connected me to Griffin, not knowing that I already knew her. When I asked Griffin to send me some information on The Way They Walked, she included the following:
“The preliminary movement vocabulary [for the work] was created there [in Israel], as a personal answer to the questions I began to ask myself after seeing armed conflict in a new immediate perspective. I was inspired by the maturity of the young Israelis preparing to serve, and by the strength of Israeli mothers whose realities included the conscription of their children. I was struck by the intense beauty of life framed by conflict.”
It was only weeks later that Israel and Hamas went to war.
“The current conflict has definitely hit close to home for me, as I still have several friends living in Israel who send updates regularly,” shared Griffin in a recent interview with the Independent. “The changes that have happened within the work aren’t at all to do with the content … or message of the work, but a general change in tone – almost a sadness, a level of more raw exposure. I think the work has lost a bit of its naivety.”
Kibbutz Ga’aton, where Kibbutz Contemporary Dance Company’s International Dance Village is located. (photo by Caitlin Griffin)
The Way They Walked has been an ongoing project since Griffin was in Israel in the first part of 2013.
“Some of the solos that are featured in the show in its current form were created from single images that came to me while living on the kibbutz,” she said, referring to Kibbutz Ga’aton, where KCDC’s International Dance Village is located. “Most of the imagery in the work was born in the studios after long days of rehearsals, while processing the overwhelming stimuli of my new surroundings. It has taken many months to explore those images and find out what was so intriguing to me about them. It’s been a process of uncovering what happens before and after these images in the dance, and how to frame them to resonate with an audience.”
Griffin, who is not Jewish, discovered KCDC online, and applied to its Dance Journey (Masa) program, which, explains the website, offers dancers 18-35 years old from around the world the “opportunity for professional development while dancing side by side with KCDC dancers [and] learning from one of the leading dance companies in the world.”
“I learned about the long-term immersive environment available to young performers and decided it was something that fit what I was looking for creatively and personally,” she explained. “I began writing grants and researching ways to make it a possibility. It took just over a year to gather the necessary resources, and to heal a broken foot I had sustained in the meantime. In 2012, I was awarded a professional development grant to attend the program from the British Columbia Arts Council. I successfully wrapped up a crowd-funding campaign that brought over 65 individuals and in-kind corporate sponsors together and, a few short months later, I was on a plane to Tel Aviv.
“I attended the program from February 2013 to June 2013, along with 24 other young artists from across the globe. The experience of living in the Galilee Dance Village, surrounded by other equally passionate and determined artists has changed everything for me. The friends I made continue to support me personally and professionally. In fact, much of the rehearsal footage from The Way They Walked has made its way to these friends – in Mexico, in Italy, in the U.S., who have all informed the direction of this work and inspired pieces of it along the way.”
Performing in The Way They Walked are Delphine Leroux, Crystal Wills and Heather Dotto. Griffin first worked closely with them in 2011, when MOVE: the company performed in the 13th International Festival of Dance and Music in Bangkok, in celebration of 50 years of Thai-Canadian relations.
Leroux, Wills and Dotto “have been absolutely integral” to The Way They Walked, said Griffin. “These are some of the most supportive and lovely artists I have had the pleasure of sharing a studio with. To date, my professional choreographic experience has been exclusively creating on myself, which is an entirely different process than directing three dancers of world-class calibre. Each of them has contributed not only their artistic expertise to the process, but has shared ideas about the work that have informed its direction. They have breathed life into something that at one time was an idea and some simple movements and pictures in my head.”
The Way They Walked has undergone several phases of development so far.
“We are currently working under Restless Production’s Project CPR5, which is a choreographic research opportunity run by Claire French, providing rehearsal space and guidance to emerging choreographers,” said Griffin, describing French as “an invaluable mentor during this process, and it is with her whom we have been working the most closely.”
In addition to the show at the Firehall, the group also had rehearsals in May and June through the Dance Centre’s 12 Minutes Max program.
Griffin said the piece will continue to evolve, as long as she feels there’s something to say with it. “I am thrilled to have the opportunity to showcase the work at this phase and will be welcoming audience feedback from the Dance Centre open house event in September to take on into the next, yet-to-be-determined developmental phase,” she said. “My hopes are that audience members can find something to relate to, coming from inside the work. Whether it’s reacting directly to a dancer’s actions, an image we create, a sound, a relationship between the dancers. To give people a chance to escape even for a moment into an atmosphere that we created would be a big success.”
Griffin, who was born in Toronto, grew up in Oakville, Ont. Dancing since the age of 4, she said she “realized it was a career option around 13 years of age.” Her family was “extraordinarily supportive … instilling in me the ideals of equality, family, hard work and creativity.”
“I have given some consideration to returning to a more traditional academic path, but honestly have never been fulfilled in the same way with any of my brief explorations into other fields. My passionate curiosity lies within the processes of performing, creating and teaching dance.”
“I had considered alternate careers and educational opportunities,” she admitted. “After graduating from high school with outstanding academic excellence, I deferred my acceptances from the science programs at Queen’s University and a scholarship from Guelph University to pursue my continued dance training with the Goh Ballet Academy in Vancouver. I have given some consideration to returning to a more traditional academic path, but honestly have never been fulfilled in the same way with any of my brief explorations into other fields. My passionate curiosity lies within the processes of performing, creating and teaching dance.”
Griffin was among the performers at the opening ceremonies of the 2010 Olympic Games. In rehearsal, she said, “Witnessing k.d. lang’s ‘Hallelujah’ to a near empty stadium in the days leading up to the event was hauntingly beautiful, and is one of my most treasured memories.” Another is teaching a ballet class to her peers in the Masa program, “with several of the KCDC company members in attendance. This is a teaching highlight for sure, though I have many highlights from my teaching career that are simply moments of understanding lighting the faces of my students. When I can teach someone that dance and well-being can go hand in hand, that’s a highlight.”
As to the future? Following the performance at the Dance Centre open house, Griffin said, “I will be headed to Montreal to dance with Les Grands Ballets Canadiens de Montréal’s annual production of Casse-Nosisette. In December, I will be accompanying Team Canada West to Poland for the International Dance Organization’s World Dance Championships. I’m not sure what’s in store after this, but I’m excited to find out!”
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The Way They Walked Through the World premières as part of the Restless Productions CPR5 showcase at the Scotiabank Dance Centre’s open house on Sept.13, at 4 p.m., in conjunction with other performances. Updates on the work can be found at facebook.com/caitlingriffincpr5.
Naomi Steinberg debuts Goosefeather. (photo from Naomi Steinberg)
The Vancouver Fringe Festival starts next Thursday, Sept. 4, and runs until Sept. 14. There are many shows from which to choose and five of which, at least, include members of the Jewish community. In order of first appearance, here are the highlights of those five shows, garnered from their press material:
Beverley Elliott premières … didn’t see that coming. (photo from the production)
HappyGoodThings presents the première of …didn’t see that coming, Beverley Elliott’s funny and moving collection of autobiographical stories that take the audience on a romp from small-town Ontario to Vancouver’s gay bars and red carpets. Directed by Elliott’s friend and colleague of 30 years, Jessie Award-winner Kerry Sandomirsky, who has been close by holding the tissue for many of these life-changing events, musical direction is by Bill Costin.
Inspired by her live performances at the Flame, her writing group Wet Ink Collective and years of entertaining crowds gigging in various bands in a parade of bars, … didn’t see that coming reveals unexpected blessings and uncomfortable epiphanies. These range from catching a bouquet, being called Smelly Elliott, attending a Guess Who concert, growing up with Presbyterian morals, a generous Greek admirer and a yellow dress, the highs and lows of singing at weddings and funerals, relationships with straight men going nowhere and relationships with gay men going to the grave – all held together with the galvanizing salve of songs, the lifeboat of music.
… didn’t see that coming takes place at Performance Works on Granville Island, 1218 Cartwright St., with the first show (of six) on Sept. 5 at 6:45 p.m. For more information on Elliott, visit beverleyelliott.net.
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Naomi Steinberg’s debut performance of Goosefeather will be at the Fringe, after which she will set off to go around the planet with no airplane, carrying the story in which she weaves together traditional storytelling with movement and clowning to tell you about the time her grandfather sent her on a wild goose chase in the south of France.
Steinberg is an accomplished performer, storyteller and site-specific installation artist. With more than 13 years experience, she knows how to seduce audiences through a provocative mix of political thought and artistic content, telling her stories in a unique voice, with an evocative gestural language.
Past highlights of her work include storytelling events in Jerusalem, Ramallah, Paris and Zurich, among others. Steinberg was the artistic director of the Vancouver Society of Storytelling from 2009-2014, steering large-scale community engagement initiatives and producing three international festivals. Grants awarded include from the City of Vancouver, B.C. Arts Council and Canada Council for the Arts.
Goosefeather begins its nine-show run at the Toast Collective, 648 Kingsway Ave., near Fraser and 16th, on Sept. 5, 8:30 p.m.
Following the Fringe performances, Steinberg heads down the West Coast to board a cargo ship in Los Angeles. She will arrive in Melbourne, Australia, near the end of December, completing the first leg of her journey around the planet. See goosefeather.ca for more information about the project.
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Charlie Varon’s new solo show is Feisty Old Jew. (photo from Tangeret via Charlie Varon)
Charlie Varon brings his new solo show, Feisty Old Jew, to the Vancouver Fringe. Feisty Old Jew is a fictional comic monologue about a 20th-century man in a 21st-century city. At age 83, here’s what Bernie hates: yoga studios, tattoo parlors, boutiques of all kinds, $6 cups of coffee, young techies and what they’re doing to San Francisco.
The story takes place entirely on one hot October day. Bernie gets tired of waiting for a cab, sticks out his thumb and is picked up by three 20-somethings in a Tesla with a cappuccino maker in the dashboard and two surfboards strapped to the roof. By the time they get to the beach, Bernie has convinced the kids to let him surf for the first time in his life, and bet them $400,000 that he’ll ride a wave.
Varon has been making theatre for 23 years at San Francisco’s Marsh Theatre, in collaboration with director David Ford. In addition to Feisty Old Jew, his other shows include Rush Limbaugh in Night School (1994), The People’s Violin (2000) and Rabbi Sam (2009). Of Feisty Old Jew, Varon says: “This is a show about a city in flux. When I moved to San Francisco in 1978, my rent was $70 a month. Now people pay $70 a month just for lattes.”
The Fringe presents six performances of Feisty Old Jew, beginning Sept. 5, 8:45 p.m., at Performance Works. To read a Q & A with Varon about the show, visit goo.gl/doYJ7h; more information at charlievaron.com.
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Lynna Goldhar Smith directs Dirty Old Woman. (photo from Loretta Seto)
As part of the Vancouver Fringe, Dirty Old Woman Artists Collective presents Dirty Old Woman, a new play by Loretta Seto, directed by Lynna Goldhar Smith.
After her divorce, Nina, a 50-something-year old, decides to venture back into the world of romance. But when she meets Gerry, 20 years her junior, the sparks fly in more ways than one. Judgments, double standards and comedy ensue, as Nina tries to navigate the dangerous world of dating a younger man.
Dirty Old Woman stars Jessie Award-winning actors Susinn McFarlen, Robert Salvador, Emmelia Gordon and Alison Kelly; with lighting design by Michael Schaldemose, sound design by Dylan McNulty. It will have six shows at Studio 16 (1555 West 7th Ave., between Fir and Granville), starting Sept. 6, 6:15 p.m. For more information about the show, visit dirtyoldwomanplay.wordpress.com.
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From the twisted mind that spawned South Park and Book of Mormon, Trey Parker’sCannibal! The Musical comes to the Vancouver Fringe Festival. Among the cast of this Awkward Stage Productions (awkwardstageproductions.com) show is community member Henya Rosen.
Cannibal! The Musical is the true story of the only person convicted of cannibalism in America – Alferd Packer. The sole survivor of an ill-fated trip through the Rockies, he tells his side of the harrowing tale to news reporter Polly Pry as he awaits his execution. While searching for gold and love, he and his companions lost their way and resorted to unthinkable horrors … with music!
Henya Rosen is part of the cast of Cannibal! The Musical. (photo by Skye S Son)
It’s unique every time. Originating as a film, the licence includes no script, only a guide, so each production really is a new show. Care is taken to preserve those fundamental elements to please the cult following, but the rest is up for grabs. The blended offering in this year’s Fringe includes a human campfire, a tribe of Amazon war princesses, a multi-media format with animation, a giant Cyclops, a lesbian biker gang of fur trappers, puppets, a massive saloon fight, some cross-dressing and sexual confusion, the classic “Shpadoinkle” and “Hang the Bastard” musical numbers, offensive language, a human horse and, of course, a healthy helping of gore and cheese.
For this, its fifth year in a row at the Vancouver Fringe, Awkward Stage presents another all youth cast, crew and band of emerging stars aged 14 to 25 who are eating up these roles! There will be eight shows, the first being on Sept. 6, 7:15 p.m., at the Firehall Arts Centre, 280 East Cordova St.
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For the full Vancouver Fringe schedule, ticket and other information, visit vancouverfringe.com or head down to the box office at 1398 Cartwright St. (after Sept. 1).
Sisters Brenda Silver, Susan Rubin and Mimi Wolch are among the hundreds who will contribute to the Torah Stitch by Stitch project. (photo by Phillip Silver)
A new Torah scroll is in the making. The brainchild of Temma Gentles, Holy Blossom Temple’s artist-in-residence in Toronto, the project originated from a chance encounter Gentles had with Marilynne Cass a year ago.
Gentles, an award-winning Judaic textile artist, is the artistic director of Torah Stitch by Stitch (TSBS), while Cass is the project’s executive coordinator.
“I fell in love with the concept and have thoroughly enjoyed seeing this dream turn into a reality,” said Cass about accepting Gentles’ invitation to join the team when the project was just beginning.
Gentles came up with the idea while on sabbatical in Israel several years ago, when seeking a way to help people engage in the words of Torah. As a textile artist, she envisioned creating a cross-stitched Torah.
“Temma chose cross-stitch because it’s a universally known craft that has been traditionally taught to young girls around the world for adorning clothing and household items,” said Cass. “It was also often the way in which girls learned their letters and numbers. While it’s a simple skill to master, it can still produce amazingly beautiful pieces of work. Using cross-stitch for TSBS has been an inspired choice, as it has allowed people from around the world to work together on a single project.”
Gentles designed a new font for Hebrew letters and divided the entire Torah into 1,463 four-verse segments for people to work on. TSBS participants range from men and women in their teens to those well into their 90s, from skilled stitchers to novices.
“There is no skill test to pass,” said Cass. “The only requirement is that each person commits to following the stitching graph correctly, complete their canvas in a timely manner and treat the work with respect.”
TSBS stitchers come from many different religions – from Judaism to Christianity, Buddhism to Islam. “Even though we’re doing the Torah (the Five Books of Moses), this isn’t an exclusively Jewish project,” said Cass.
“The Torah is the basis of three of the world’s major religions and TSBS has universal appeal,” she added, noting the project includes avowed atheists and the mother superior of a convent. “Everyone is welcome,” said Cass. “In fact, we’re actively looking for more Muslim stitchers.”
While many TSBS stitchers are from the Toronto area, the project has spread throughout Canada.
“I found out about this project from my sister, Brenda Silver, who met the artist through her synagogue in Toronto,” said Susan Rubin, chief financial officer of a downtown Vancouver junior mining company, who resides on the North Shore. “Both of my sisters volunteered to do panels, so I decided to sign up for a panel, too.”
Rubin paid $18 to cover the kit cost and received the template for the verses, the fabric and the embroidery threads in the mail. “At first, it was difficult to figure out how to start, but soon I got the hang of it,” she said. “I hadn’t done any cross-stitching for about 40 years, but it’s not that difficult. I worked on the cross-stitching at night, doing an hour here and an hour there. After about six months, it was done. It was very satisfying work and fun to do.”
Gentles asked Rubin to be more involved in the project and asked whether she would like to be a coach. “I was pleased to take a position,” said Rubin. “I’m one of many volunteers assisting Temma. Some volunteers are helping people with the stitching, while others are helping to compile the finished panels.”
The display for the Torah scroll has been designed by Phillip Silver. (illustration by Phillip Silver)
Rubin is helping keep track of the 700 stitchers. “I assign each stitcher a coach, so they have someone to contact if they run into trouble,” she said. “I also follow up with the stitchers who’ve had their panel for over six months and haven’t yet completed it. If someone cannot complete their panel, we try and find out why and offer help or, if need be, find a volunteer to adopt the panel. It’s important that all panels are complete, so the finished project is the entire Torah.
“It’s been interesting to hear feedback and personal stories from the volunteers. Even though this is a folk art project, there is a spiritual overtone and the stitchers receive great satisfaction in working with the words of the Torah.”
TSBS now has nearly 900 participants in 13 countries, with more applications coming in each week.
“Our ultimate goal is to have all 1,463 panels completed,” said Cass. “We’re more than halfway there.” The books of Genesis and Exodus have been finished, and stitchers are now working on Leviticus.
“We expect it to take another year before all the remaining canvases have been assigned,” she added. “Meanwhile, we’re working on the final details for the display format.”
The display has been designed by Phillip Silver, one of Canada’s foremost stage designers. It will be about 2.5 metres high and nearly 100 metres long. “The finished work will be museum quality and we hope it will be exhibited in several museums,” said Cass. “The goal is to allow people to feel as if they’re wrapped in the Torah.”
Cecilia Peck, left, and Linor Abargil in Princeton, N.J. (photo by Motty Reif)
Former Israeli beauty queen and international cover girl Linor Abargil is a sharply intelligent woman with a cause: survivors of rape. Empathetic yet unsentimental, highly visible but also private, Abargil is a uniquely complicated individual.
Those who have been directly or indirectly affected by rape will have a visceral, positive reaction to Abargil’s story, as depicted in the feature-length documentary Brave Miss World, which is now streaming on Netflix. While Cecilia Peck’s film suffers from a meandering structure, Abargil’s toughness and tenacity provide a steady source of inspiration.
Shortly after she was anointed Miss Israel in 1998, the 18-year-old Abargil went to Milan for some modeling jobs. Preparing to leave Italy and return home a few months later, she was raped by an Israeli travel agent who’d been recommended by her modeling agency.
Abargil escaped with her life by promising the assailant that she would never tell anyone, but quickly reported the crime to Italian and Israeli authorities. When he returned to Israel, he was arrested, tried, convicted and sentenced. (The film marshals allegations that the perpetrator – an Egyptian Christian married to an Israeli woman – was a serial rapist and an ongoing danger to society.)
The film picks up Abargil’s saga many years later, after she’s begun a website (now based at bravemissworld.com/speak-out/share-your-story) for rape survivors to confide their experiences, as well as the ongoing effects of their trauma.
Brave Miss World follows the peripatetic Netanya native from Tel Aviv to Cleveland, Johannesburg, New York, Princeton, UC Santa Barbara and Beverly Hills, where she meets with rape survivors and speaks at charity luncheons. Supplying solace and strength as needed, Abargil offers in-person proof that it’s possible to heal from a sexual attack and lead a satisfying life of unapologetic self-expression.
It’s not always a smooth ride, of course, particularly when Abargil’s rapist is up for parole and she has to confront past events and ongoing fears. Her determination, along with her belief that the failure to prosecute more rapists is an injustice that contributes to the ongoing suffering of survivors, is truly inspiring.
Abargil is a strong-willed, self-confident woman, and it’s always interesting watching her interact with strangers. But the documentary lacks her courage, tiptoeing around anything that might make her less sympathetic and saddling her with dull voice-over narration devoid of the bite of her personality. The omission of any discussion of how young women are objectified in advertising and fashion photography is an especially curious oversight given both Abargil’s extensive career as a model and her outspoken nature.
Brave Miss World was shot over a period of time that encompasses Abargil’s enrolment in law school as well as her abrupt transition from secular to religious Jew, which flummoxes her ever-loyal parents and may unsettle some viewers.
Ultimately, Brave Miss World does a clumsy job of blending a character study with a social-issue documentary. It’s soft-centred, unlike its subject, and largely content to proffer good intentions and a parade of hugs instead of exploring the tangle of issues surrounding rape.
Abargil, however, is a pretty remarkable person who never stops pushing herself beyond the familiar and comfortable. She’s well worth getting to know.
Michael Fox is a San Francisco film critic and journalist.
Members of the Gitxaala Nation at the 2014 Qatuwas Festival. (photo by Kris Krug)
Vancouver, Erev Tisha b’Av (Aug. 4): As Jews across North America are preparing themselves for the sombre, mournful fast commemorating the destruction of the holy temples in Jerusalem, Jews in Israel and across much of the world have already begun fasting. We fast to mark the calamities that befell our people on the ninth of Av throughout history, and to acknowledge that we are still living in exile, awaiting the building of the third Beit Hamikdash.
For a moment, imagine that we are in Yerushalayim while the Temple stands and hearing news of a siege of the city. Food is growing scarce and we realize that the walls will soon be breached, and destruction leveled upon us and upon our holiest of places. Invasion, murder and desecration are almost certain. If we survive, we will almost certainly be forced into exile, and our city would be burned along with the centre of life for all Jews, the Holy Temple.
As I sit, I reflect upon our history, my history. I reflect upon 2,000 years of exile, upon the Holocaust, upon the war in Gaza. I wonder what may come tomorrow. Exactly three weeks earlier, I was away from the city, visiting my mother on Denny Island, B.C. I went there to spend time with her, to go fishing with my stepfather and to eat Mom’s cooking. I hadn’t planned on meeting people from other nations that have faced destruction, assimilation and exile also, or to learn from their resolve.
Waglisla, Heiltsuk territory, three weeks earlier (July 15): I stand in the grass under the blazing sun, straw hat on, squinting at the dancers. They wear traditional garb: robes, cedar hats, blankets and paint; they sing. Today is the 17th of Tammuz and I haven’t eaten since the night before. I am at the 2014 Qatuwas Festival, an annual gathering of the First Nations of North America’s West Coast – from Alaska to Oregon, where the nations have traveled by glwa (gil-wah, an ocean-going canoe), some for more than 30 days to reach their destination. Qatuwas, the Heiltsuk word for “people gathering together,” has its roots in 1985 in Waglisla (Bella Bella), when a group of local residents built a glwa to paddle 500 kilometres to Vancouver for Expo ’86. They now make a journey each year to a different nation to build connections, morale, identity and community. Nearly 30 years after Qatuwas began, there are hundreds gathered on the grass field in Heiltsuk territory.
My mother moved to Denny Island about two years ago and I’ve taken the 10-minute ferry to Bella Bella to see Qatuwas for myself. I sit in the shade with Jessica Brown, a beaming, bright young woman from Heiltsuk Nation, who is part of the host committee for Qatuwas. She smiles while she speaks about the festival:
“It’s pretty amazing. Last summer, we left Bella Bella and paddled for 32 days on the water, and stopped at every first nation – for a day in the life of each nation. You can be there for a funeral, or you can be there for a lahal tournament or a powwow. It’s a journey of healing, drug and alcohol free, and it’s supposed to be about resurgence, revitalization.
“Young people on the canoe say that the water is a healing process, from the effects of colonization, continuing and ongoing.”
As I contemplate my physical hunger, my fatigue, I feel connected to my spiritual hunger, our collective desire as Jews to return to the Holy Land, a holy time. At least some of my emotions are shared by the nations celebrating at the Qatuwas Festival. Like us, they have suffered innumerable losses. Spirit, though, as it is with knowledge, faith and hope, can never be taken away from one person by another. They can only be given up.
I leave Qatuwas in peace. The days are long here on the central coast in summer, but the sun is slowly burning towards the horizon. Spirits are high on the ferry back to Denny Island.
Vancouver, Erev Tisha b’Av (Aug. 4): The hour of the fast is nearly upon us. Soon I will get into my car and drive to shul to sit and pray on the floor like in a house of mourning, and mark the beginning of the fast of Tisha b’Av. I have a flash from three weeks prior, when I asked Jessica about the land we stood on at Qatuwas.
“We’re not treaty people,” she said, “and that means that we’ve never given up access to our land. We basically consider ourselves the Heiltsuk Nation, a sovereign nation.”
“Am I in Canada?” I asked with an intrigued grin.
“No, you’re in Heiltsuk territory.”
As Jews across Israel and the Diaspora prepare to mourn on Tisha b’Av, I’m inspired by the strength of our people and by that of the First Peoples of Canada.
Despite the destruction, chaos, hatred and exile, we still hope to be free peoples in our own land. For us, the land of Zion, Yerushalayim. Am Yisroel chai.
Benjamin Grobermanis a born and raised Vancouverite. He is a freelance writer, and is pursuing a bachelor of education degree, with aspirations to teach in a Jewish high school. He is a resident of Vancouver’s Moishe House.
Group in evening dress, State of Israel Bonds, Vancouver, B.C., 1960. (photo from JWB fonds; JMABC L.14505)
If you know someone in this photo, please help the JI fill the gaps of its predecessor’s (the Jewish Western Bulletin’s) collection at the Jewish Museum and Archives of B.C. by contacting [email protected].
Teens on this year’s March of the Living helped Lillian Boraks-Nemetz face down haunting memories. (photo by Adele Lewin Photography)
Lillian Boraks-Nemetz, a Vancouver poet and author who was a child survivor of the Holocaust, initially declined the offer of a trip to her Polish homeland. She had been there, and written books and poems about her experiences as a child and as a returning adult. She didn’t know that an invitation to go again would lead to an emotional and psychological closure for which she had waited seven decades.
When first invited to participate in last spring’s Canadian contingent of March of the Living, Boraks-Nemetz demurred. March of the Living is a program that brings Jewish young people from around the world to the sites of Nazi atrocities in Europe and then to the Jewish homeland of Israel, marching from Auschwitz to Birkenau on Yom Hashoah, Holocaust memorial day, and traveling to Israel in time for Yom Hazikaron, Israel’s remembrance day for fallen soldiers, and Yom Ha’atzmaut, Israeli independence day. March of the Living’s teenage participants are accompanied by Holocaust survivors.
“I thought, how am I going to keep up with a bunch of 16-, 17-year-olds?” Boraks-Nemetz said in a recent interview. But she was assured that survivors are well taken care of on the trips and she was convinced to go.
“There were difficulties, but I rose to the occasion,” she said, laughing. On the extremely long day traveling from Canada to Poland, which then continued immediately with more travel and programming, Boraks-Nemetz was aided by one of the young participants. “One of the girls had chocolate that had extra caffeine in it, so she gave it to me,” she explained.
Boraks-Nemetz was accompanied by another survivor, chaperones and young people from Edmonton, Calgary, Winnipeg and Ottawa, as well as eight Jewish teens from Vancouver. In all, there were 78 people on the trip. (Young people from Ontario and Quebec made up their own contingents and traveled on different buses.)
The program was intensive. The week in Poland involved stays in Krakow and Warsaw, where they visited the Museum of Polish Jews, and they went to the extermination camps Auschwitz-Birkenau and Majdanek.
“The young people who came with us are so beautiful and so good and so well behaved and so moved by everything. You could just see how they took it all in. For them, it was a life-changing experience.”
“The young people who came with us are so beautiful and so good and so well behaved and so moved by everything,” she said. “You could just see how they took it all in. For them, it was a life-changing experience.”
In Warsaw, they also went to the orphanage that had been run by Janusz Korczak. A Polish Jew who was a respected published author, Korczak was offered multiple opportunities to save himself from the advancing Final Solution. When the Warsaw Ghetto was created, Korczak’s orphanage, its staff and nearly 200 young charges were forced to move into the ghetto. When the ghetto was liquidated, in 1942, Korczak was again offered immunity, but instead stayed with his orphaned children as they were deported to Treblinka.
In Lodz, the group visited the cemetery and the place where the second-largest Nazi-enforced Jewish ghetto had been. (More than 200,000 Jews were held in Lodz Ghetto during its existence. About 10,000 of those were alive in 1945.) There, the Canadians boarded one of the rail cars that had transported Jews to the camps.
“It was dark and there were many of us,” said Boraks-Nemetz. “It was tight. It was scary. We got the feel of it. Of course, the fear wasn’t there, but there was something foreboding about it.”
At the camps, the participants said prayers and sang mournful songs.
“There was a lot of poetry,” she said. “I brought my book Ghost Children, which was written after one of my trips there. And, whenever we went to a certain place, I would read a poem and it really got to them.”
An unexpected insight came during conversations with young Polish Jews during an arranged dinner at the hotel in Warsaw.
“They sat down, one at each table of students, so they were able to talk,” said Boraks-Nemetz. “At the end of the dinner, I saw the five or six of them standing in the lobby of the hotel, the Polish Jews, and so I went to talk to them. We went to the side and it was really interesting what they told me. They’re quite modern. They’re a little bit shy. They’re a big change from the Israeli youth,” she said, laughing.
The young Polish Jews told her that things were pretty good for them. Some go abroad – to France or elsewhere – to study, but jobs are hard to find and the standard of living isn’t great. They had a question about March of the Living.
“They said, ‘Why do you always come here looking for what’s dead?’ And I explained to them that this is an educational trip,” said Boraks-Nemetz. “But they said, ‘You know, there are some of us here, there is beauty here too, we are alive and there is a Jewish community – small, but there is a Jewish community. And I could see that that was maybe something to address.”
From Poland, the group flew El-Al to Israel.
“It’s like walking in from the shadow into light,” she said. “The Jerusalem of Gold! And we went straight to Masada off the plane.”
There, the other survivor on the trip, Max Iland, an octogenarian from Sault Ste. Marie, Ont., celebrated his bar mitzvah, a few decades late.
“The students were singing and he and I were dancing, it was really fantastic,” said Boraks-Nemetz.
The entire experience, she said, was life-altering for the participants.
“They felt that their Jewishness was strengthened, that they are a part of history,” she said. “They cherish their homes and their families after finding out what happened to Jews over there. And, above all … they were becoming witnesses to my story. That’s what one of them said. She felt she was a witness to it. I did speak to them about the legacy that we, survivors who were on our way out, are leaving them.”
Boraks-Nemetz found especially notable the connection of young Canadian Jews to those who had given their lives in defence of the Jewish state.
“What I didn’t realize was how strongly they feel about the fallen soldiers who fought for Israel,” she said. “They read poetry again to the fallen soldiers.”
When the national moment of silence came, the experience was transfixing.
“We’re standing on [Tel Aviv’s central street] Ben Yehuda and the sirens sounded and, all of a sudden, it was like everyone was made of wax figures. That was an incredible thing.”
For Boraks-Nemetz, the trip provided an unexpected closure to the darkest chapter of her life.
Lillian Boraks-Nemetz accompanied teens on this year’s March of the Living. (photo by Adele Lewin Photography)
For her, the climactic moments of the March of the Living took place in the small Polish village of Zalesie. It was here that young Lillian survived the Holocaust in hiding. After spending two years in the Warsaw Ghetto, she was smuggled out by her father before the ghetto was liquidated and its residents – more than a quarter million Jews – were sent to Treblinka and other death camps. Outside the ghetto, she was met by a Christian woman who transported her to a little white home in Zalesie, where her grandmother was in hiding, posing as the wife of the Polish man who lived there.
Boraks-Nemetz has written about that time in her poetry and in her book for young adults, The Old Brown Suitcase. As an adult, she has returned to the little house at Spokojna Street, Number 16. But this visit was different.
“These two buses went down this dusty road, and there were all these [people in] houses wondering what was going on,” she said. “Nobody bothered us. We filed out and we went into the garden. We all stood in the garden and I told them the story of hiding.”
There was one part of the story she hadn’t intended to tell, but she had developed closeness and trust with the participants accompanying her. She felt confident and compelled to share more than she ever had before, which led to an unprecedented emotional catharsis after almost seven decades.
“I told them something about the man with whom we were in hiding. He was both good and bad,” Boraks-Nemetz said. “How does a child of eight take that? That, on the one hand, he saved us, our lives, and, on the other hand, he was a drunk who could have given us away and didn’t, and, thirdly, he abused me when my grandmother wasn’t there. This is life and that’s how it was.”
In small groups of six or eight, the young people accompanied Boraks-Nemetz into the home.
“When we went into the house, I explained where I slept and where I stood by the window and watched for my parents to come, the road, the garden, the whole thing,” she said. “They were very moved, and a funny thing happened. Each time a group would come out, I would come out with them onto the little porch and they would all hug me. Every one of them. And I think what happened to me was probably, for the first time in my life, I was able to face what happened there. That was an awesome experience for me. I had been there before many times but I always blocked it out. I never faced it properly. And, this time, because of the kids … I just couldn’t believe how it opened me up, this experience with the kids.”
The ambulance being sent to Israel by the Winnipeg CMDA is the same type as the one pictured here. (photo from CMDA)
With the recent violence and tensions in Israel, Magen David Adom (MDA) is, once again, being pushed to its limits – working in a state of high alert and keeping most of its equipment in service 24 hours a day. And though tensions are high in Jewish communities outside of Israel, as well, the recent Operation Protective Edge seems to be bringing out the best in people, including additional financial support for Israel.
One such Canadian example is in Winnipeg, where people are pouring their energy into helping to send ambulances and medical equipment to Israel via Canadian Magen David Adom (CMDA). Winnipeg’s local CMDA chapter sent an ambulance to Kiryat Shmona last year. Now, it is sending its second ambulance to Israel, which will be stationed in the south.
While most of the support has come from the local Jewish community, there is growing support from Manitoba’s Christian community, who are eager to show their support for the Jewish state.
One of the leading figures in that group is Pastor John Plantz, who has been leading tours to Israel every year via his Beauty Field Tours to Israel. Plantz said he was looking for a tangible way to help Israel aside from visiting the country with his tours. He was first introduced to CMDA through materials he came across at a local Jewish community centre and, later, around 2009, through a meeting with CMDA Winnipeg member Ami Bakerman. Plantz invited Bakerman to set up a CMDA table at a local Bible conference he organizes each year.
Looking for even more ways to support Israel, Plantz recently purchased a grove of 1,000 trees, along with Beauty Field Tours group-mates John and Janice Thiessen, through the Jewish National Fund. The grove will be planted in the Yatir Forest.
“My joining the Winnipeg CMDA chapter came through an invitation from Ami [Bakerman],” said Plantz. “I was very excited about the opportunity to help this organization get ambulances for the state of Israel and to be able to help get practical resources to people in a time of need in a country that I’ve truly come to love.”
Some 25 years ago, Plantz discovered that his grandfather was Jewish. Since then, he said, “I decided to support, in practical ways, the Jewish community here, in Winnipeg, and also the state of Israel.”
Plantz sees it as “a privilege” to introduce many more Christians to CMDA at the many events he attends by handing out CMDA tzedakah boxes and other CMDA materials. Also, Plantz said, “By informing people of the need[s] in the state of Israel, it gives them the opportunity to give and help.
“I was so pleased to hear when CMDA had sent their first ambulance to Israel just over a year ago, as I was a part of that through our Bible conference, along with many others from that event.
“And now to think that another ambulance will be sent this month brings great joy to my heart and it should be celebrated by all who’ve had a part. I’d like to give the glory to the God of Abraham, Isaac and Jacob for putting it into the hearts of many to respond.”
He added, “I believe that the time to help is now, for the need is great in Israel and lives are at stake. Let’s get involved today.”
Laurelle Harris (photo from Laurelle Harris)
Another local CMDA chapter member is Laurelle Harris, a lawyer and a director of Levene Tadman Golub Law Corp.
“I’m thrilled to have been able to play a very small role in the chapter having been able to send two ambulances so far,” said Harris. “To be able to contribute to the safety and well-being of people in Israel is amazing.”
Harris joined the Winnipeg chapter of CMDA about two years ago. “The ability for MDA to provide emergency services is essential to the well-being of all those living in or visiting Israel,” she said.
“At the time, I didn’t know how long it would take to be in a position to send one ambulance. Actually sending two makes me believe that we’re on a roll and can achieve our goals in the future.
“To be able to send a second ambulance – an intensive care unit (MICA), no less – during the current conflict with Hamas makes me feel that Winnipeggers have done something tangible to make a difference right now,” she added. “Winnipeggers have, quite literally, helped MDA save lives in real time.”
According to Harris, the Winnipeg chapter’s ability to send more ambulances depends on the continued financial support of the general community in Winnipeg and throughout the province, as well as adding more volunteers with diverse skill sets and backgrounds.
“During this particularly difficult time for Israel, as she remains under attack, there are a number of ways that people can help,” said Harris. “But, most importantly, is to give to any cause that will have a direct impact on service provisions. CMDA is one such organization that will not just be of benefit in the immediate, but will also have a lasting impact in times to come. When this crisis is over, gifts given now will continue to have a lasting impact for years into the future.”
For more information or to donate to the Winnipeg chapter ambulance drive, email Winnipeg chapter treasurer Bakerman, [email protected]. You can also donate online at cmdai.org or by calling 1-800-731-2848. CMDA is a registered charity and all donations receive a tax receipt.
Mordechai Edel at work in the studio. (photo from the artist)
Mordechai Edel is not a stranger to grief and pain. His parents escaped Austria in 1939. His uncle spent years in the Nazi concentration camps. His father died when he was 16 years old. Edel has been aware of the darkness in the world since he was a child, but he has never succumbed to it. The art he creates is light fantastic, bursting with colors, suffused with gladness. “Bringing joy to the world,” is his artistic motto.
Edel’s solo art show at the Unitarian Church on West 49th Avenue opened on Aug. 1. The artist talked to the Independent about his life and his paintings. His involvement with the arts started in his early childhood.
“My mom baked cakes for a coffee shop in Birmingham. It was also a gallery, and the owner,
Andre Drucker, was my first art teacher. When I was about 8, I won a BBC art competition with my self-portrait. It must’ve been my bright red hair,” he joked.
Even more than painting, he said, he wanted to sing, but for a child of a working immigrant family in post-war Birmingham, it wasn’t an easy or even a realistic dream, especially after his father fell sick and young Edel had to leave school at 14 to help his mother.
“I listened to the radio when they played classical music and opera,” he said. “We also had a very good cantor in our synagogue, and I wanted to sound like him. I sang in the choir.”
He frequently bought classical opera records at the local flea market but couldn’t listen to them at home – the family didn’t own a record player. When someone at the flea market suggested playing them on his player, the music was a revelation to the boy. “I wanted to sing like Caruso,” he remembered. “I wanted to study classical music and opera.”
Instead, he followed a much more practical route and apprenticed to a hairdresser. “My uncle was an opera singer before the war. It saved his life in the Nazi camp – he sang there. After the war, he immigrated to Canada and became a hairdresser. Nobody needed an opera singer.”
Edel followed in his uncle’s footsteps. He moved to Canada in 1969, when he was 20, and worked as a hairdresser, while spending all his money on music and singing lessons. He sang in concerts. At some points in his life, he was a cantor in Victoria and a soloist for the Tel Aviv opera.
But visual art was always an intrinsic part of his life, always casting light onto the shadows. When he opened his own hairdressing salon, he played classical music there and decorated the room with his paintings. His patrons loved the ambience, and the word of mouth spread about the hairdresser artist and his paintings.
It is no wonder that one of the recurring themes in Edel’s paintings is music. The picture “Spinner of Light” looks like a tapestry of colors and notes, where fantastic creatures sway to the unearthly melodies in an imaginary landscape. Flowers dance in several of his paintings, and Chassidic bands indulge in merry klezmer tunes. “O Sole Leone” is more grounded but just as whimsical, a song of Vancouver at night, while “Transparent Emet” reminds the viewer of the spiritual theatre of life. The musicians play in the pit, but the conductor exalts above, a part of a mystical pomegranate.
Symbolism plays a huge part in Edel’s artistic vision. Combined with his colorful esthetics, it leads him the way of impressionists, where emotions get embedded in pictures, entangled with floral and abstract motifs.
“I listen to classical records when I paint. Sometimes I listen to my wife Annie playing her violin. She is my muse. She inspires me.” Married for four decades, he is as much in love with his wife now as ever, he said, and their mutual devotion helped them five years ago, when darkness struck the family.
Someone they had trusted conned them out of their life savings. After working hard for more than 40 years, the family lost everything, about half a million dollars.
“People don’t like to hear others crying,” Edel said, “but frankly, it’s played havoc with our lives. We had intended to make aliyah to Israel for the ‘last and best’ retirement years – even though artists never retire – but we had to recoil into a one-bedroom rented apartment these past few years. And yet, in order to combat our tragedy and adversity, I came up with my ‘artidote.’… So many people need to be uplifted with light and laughter.”
“I don’t dwell on darkness. I try to stay positive, although it’s a challenge to be happy in the face of darkness,”
Currently, the couple lives on a small government pension, and he paints in the living room – his studio. Like in all other areas of their life, however, his wife is his source of happiness and stability. “My wife says we go forward. And we do. I don’t dwell on darkness. I try to stay positive, although it’s a challenge to be happy in the face of darkness,” he admitted.
The current show emphasizes Edel’s drive towards the light. His paintings vibrate with joyful energy. “I wanted to reach out with my art, to show my paintings to Jews and non-Jews alike,” he said, explaining the placing of his deeply Jewish art in a Christian church.
The show runs until Aug. 31 and viewing is by appointment. On Aug. 27, at 7 p.m., there will be a guided tour by the artist and a complimentary concert. To register, call the Unitarian Church, 604-261-7204, or contact the artist, 604-875-9949.
Olga Livshinis a Vancouver freelance writer. She can be reached at [email protected].
