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CHAI IS ALIVE WITH THE SOUND OF MUSIC
By ELAN MARCHINKO, Chai Artistic Advisor of Dance
When I think of Chai’s upcoming show, The Mountains Will Dance, visions of “The Sound of Music” spring to life in my head, particularly the title song, “The Hills Are Alive.” In this scene, Dame Julie Andrews, as the spirited postulant, Maria, is nourished by the hills that sing with her pristine soprano voice. But just beyond the hills are the Berchtesgaden Alps. Instead of being inert backdrops, the mountains also sing. The mountains are alive. The mountains dance. It is these Alps that will sustain the Von Trapp family as they flee Nazi occupied Austria to seek exile in Switzerland—at least in the Hollywood version.
As immoveable as they seem though, mountains, like people, are not monoliths. Each one is its own ecological universe. There is no singular definition of all that a mountain is. In gestation for millions of years, they are born of tectonic forces and rise from the ashes of volcanoes. Once they cease growing, mountains are vulnerable to erosion and return to the earth just as slowly as they emerged. In fact, many Indigenous artists working on Turtle Island and abroad have long created works that examine mountain ranges as the kinetic spinal cords (Raven Spirit Dance) or backbones (Red Sky Performance) of Mother Earth.
Indeed, the songs and stories of the land now known as Canada have much to teach us. As a settler-Canadian who grew up in Winnipeg, on Treaty One land, the homeland of the Métis Nation, I am just scratching the surface of these stories, which is why it is so important that the Asham Stompers will be part of Chai’s concert. Founded by lead dancer Arnold Asham, the performers, who are of Métis and First Nations heritage, reclaim the history of the Métis people through dance. Accompanied by Power Fiddler Shawn Mousseau, the Asham Stompers care for the past and future in the present. Through the exuberant Red River Jig invented at the historic Forks site of the Red and Assiniboine Rivers in the early 1800s, the dancers reach through time to heal and empower the next generations of Indigenous youth.
As curators of the dance, music, and song of the lands and cultures Jews have touched, Chai is an intercultural folk ensemble. As such, Chai continues through the power of art to transcend not only geographic borders but the borders of Jewish and Israeli performance. Due to shifting borders, trade, and the migration of people, whose memories and cultures migrate with them, Jewish music is as vast as the diaspora. Part of the diaspora are the Jewish people of Hungary, who comprise roughly 80,000 of the country’s population. So, it is equally important that Winnipeg’s Kapisztran Hungarian Folk Ensemble will also perform. Established in 1960, Kapisztran is a staple of Winnipeg’s annual Folklorama celebration. While the company does not identify as a Jewish organization, Jews and non-Jews find common ground through the Hungarian folklore, song, dance, and food that they share.
Finally, the concert will feature several works by beloved guest choreographer and flamenco artist Rebeca Shamah. This includes the debut of Yemen Blues, created entirely over Zoom from her home in Puerto Rico. Shamah’s piece depicts the journey of the Jewish people from slavery in Egypt to freedom in the Promised Land. A blend of Yemenite and contemporary dance forms, Shamah explains that the dancers begin rooted in “the earth that they are going to leave, and finish in the new earth that they are standing in at the end.”
“The Mountains Will Dance” evokes themes such as exile and return, the power of intercultural performance, and the sublime music and overwhelming majesty of the earth.
Please join Chai in concert on Thursday, June 22nd at the Royal Manitoba Theatre Centre. Tickets are available online at www.chai.ca or phone 204-955-0069.
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Talented Winnipeg composer Sara Kreindler teams up with her mother Reena Kreindler to create new satirical show to premiere here in May
By BERNIE BELLAN It’s been many years since I’ve heard from Sara Kreindler. Sara’s name first appeared in The Jewish Post & News in 2002 when a satirical musical titled “A Touch of Class” was reviewed by the late Arnold Ross. That particular production featured songs from popular Broadway shows that touched upon themes such as “greed, poverty, oppression, and social unrest.”
When she appeared in that show, Ross noted, Kreindler had just recently returned to Winnipeg from England, where she had obtained a doctorate in Social Psychology from Oxford University.
While at Oxford, Kreindler found time to compose a satirical musical titled “Charity,” which played to rave reviews there, and was performed five times.
Continuing in the theme of writing satirical musicals, Sara has now teamed up with her mother, Reena, to write a new musical titled “A Perfect Man,” which is set to run at the Gargoyle Theatre from May 6-17.
According to a press release we received, “A Perfect Man” is “a satirical musical, set on a fictional analogue of ‘The Bachelor’.
“The story follows an anthropologist who arrives to research TV’s hottest reality-dating show — only to discover she’s been made a contestant, and the bachelor is her high school crush. Past and present collide against an exuberant pastiche score that uses vintage musical styles to highlight modern absurdities.”
“Praised as ‘a musician [who] can make biofuels funny’ (CBC), Sara is known for whip-smart satire on a panoply of topics. Her digital musical, ‘Larry Saves the Canadian Healthcare System, created during her former life as an academic, has garnered over 84,000 YouTube views. Naturally, she had a field day with the subject of reality dating.
“The topic just begs for campy zaniness, which I think we all need in these times — but also for a more cerebral critique of what these shows say about the culture that spawned them,” says Kreindler. And thanks to the romance context, the satire is woven into a deeper, more personal story. “It’s satire with a heart.”
Here is some more information about Sara Kreindler, taken from a 2009 article I wrote about her:
“Born in Israel, Sara’s precocious talent was nurtured by her mother, Reena, whose own particular talent is literary, not musical. According to Reena, however, Sara was singing from the time she was a baby, and she began to study piano at the age of four.
“As a young girl, Sara began writing her own songs and poems, along with the “occasional musical”, notes Reena. Yet, Sara’s rare talent put her at odds with the typical interests of other children her own age, on top of which she attended a school to which she was exposed to a fair degree of antisemtism.
“As a result, Sara says, being bullied was a common aspect of her childhood. On one occasion, when she was nine, she notes, Sara fought back against one particular bully by reciting the following little ditty:
“I write so many epigrams to you that all the people laugh.
I’m tired of writing epigrams.
I want to write your epitaph!”
“Sara went on to compose a musical titled ‘Flutesong’ while she was a student at Vincent Massey Collegiate, she says. After doing her undergraduate work at the University of Manitoba, majoring in Psychology, Sara won a Rhodes Scholarship to attend Oxford University.
“Sara eventually earned a doctorate in Social Psychology and returned to Winnipeg, where she began teaching at the University of Manitoba, but she said she didn’t enjoy the “mass production” style of teaching upwards of 300 students at a time, so she switched careers and began doing health research for the Winnipeg Regional Health Authority.”
All the while Sara has been continuing to compose and perform her own songs, often teaming up with her mother, as she has for “A Perfect Man.”
Showtimes and ticket information for The Perfect Man are available at:
http://www.thegargoyletheatre.com/upcoming-events/the-perfect-man
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Rabbi Kliel Rose to leave Congregation Etz Chayim for new post in Ottawa
The following email from Congregation Etz Chayim Executive Director Morissa Granove was sent to members of the congregation on Friday, April 10:
“Dear Members and Friends,
“As we know, Rabbi Kliel recently spent a weekend with Kehilllat Beth Israel where he has since been offered a position. After much thought and consideration, he has made the decision to sign a contract in Ottawa. He will continue to lead our congregation through Yom Kippur.
“This news marks a significant ending for our Etz Chayim community, and at the same time with change comes opportunity. Congregation Etz Chayim will soon embark on our own Rabbinical search with excitement as we look for our perfect candidates and explore the new possibilities that will help us to continue to shape a strong future for our synagogue and members.”
Kliel Rose took up the position of rabbi at Etz Chayim in August, 2018.
In an article announcing his appointment to the position in the June 6, 2018 issue of The Jewish Post & News, Myron Love wrote:
The congregation has been without a permanent rabbi since last summer when Rabbi Larry Lander chose to retire – after ten years here – and relocate to Toronto.
Kliel Rose is already a well-seasoned rabbi. He was ordained in 2004 by the Jewish Theological Seminary in New York.
He previously served as spiritual leader at the West End Synagogue in Nashville and Temple Enamu-El in Miami Beach. His current posting is Beth Shalom Synagogue in Edmonton.
Following the example of his parents, Kliel Rose has been active in interfaith dialogue and human rights work for which he was honoured in 2014 with the Human Rights Hero Award by Truah: The Rabbibic Call for Human Rights.
He has also participated in the Kellogg Management Education for Jewish Leaders program at Northwestern University and was most recently chosen to be among 20 rabbis from different denominations chosen to train in the Clergy leadership Incubator – a two-year program, under the leadership of Ranni Sidney Schwarz, intended to educate younger rabbis in innovative thinking, change management and institutional transformation.
In Edmonton, Rose also served as Jewish chaplain at the University of Alberta and took the lead on a program called “Faith and Inclusion”, whose mandate was to support individuals with cognitive and physical learning challenges to feel more welcome within various faith communities.