Local News
Construction of new home of Chesed Shel Emes complete – on time and on budget!
By BERNIE BELLAN It was just over a little over two years ago that the Chesed Shel Emes (the Winnipeg Jewish community’s burial society) launched a capital campaign, with the intent to build “a new facility to meet the needs of the Jewish community for many years to come,” an announcement in the May 10, 2019 issue of this paper said.
That announcement went on to say that the “Chesed Shel Emes’s south building is 114-years-old. It was built in 1905 as a private residence, and was purchased by the newly established Chesed Shel Emes in 1930. The building has met the needs of thousands of families over the years, and is showing its age. The attached chapel, built in 1947, is in good repair and will be a beautiful complement to the new building.
“The new building will provide a better and more comfortable experience for mourners and other visitors,” said Rena Boroditsky, Executive Director of the Chesed Shel Emes. “And for our volunteers, we are designing this new space with safety top of mind.”
“Having an effective and dignified infrastructure to prepare the deceased for burial and to support mourners is something a strong community does for itself.
“The funds raised will be used to: demolish the existing south building; build the new structure; protect the north building during demolition and construction; and furnish the new building with new equipment. The vision is of a building that is handsome, durable, and comforting and that includes state-of-the-art equipment for the care of the deceased. “The new 4,000-square-foot building will include the following features:
“A new, larger tahara room with stainless steel counters and more room for volunteers to perform their work safely (“tahara” is the ritual washing and dressing of a Jewish person in preparation for burial);
“new, state-of-the-art refrigeration units;
“new mechanical lifts for transferring bodies more safely;
“enhanced safety features to improve the experience of volunteers and ensure the dignity of the deceased;
“expanded storage space for caskets, shrouds, and supplies;
“an elevator for guests and volunteers with mobility issues;
“wheelchair access to the building;
“private meeting spaces for mourners, extended family, and friends to gather (currently, mourners use the boardroom);
“more comfortable accommodations for shomrim (“shomrim” are guards who watch over the deceased, so that they are never alone); (When I met with Rena on April 8 this year she added that now that there is quite a comfortable room for “shomrim” to guard over the deceased, she is hoping that family members themselves will partake of the mitzvah of serving as “shomrimr” for the deceased.)
“a safer, more accessible back staircase and entrance way;
“enhanced washroom facilities;
“refurbished office space;
“refurbished basement crawl space for additional storage (the current basement is undeveloped);
“state-of-the-art heating and cooling systems; and other features to create better conditions for mourners, staff, and volunteers, and to ensure the dignity of the deceased.”
Now, in less than one year, the new building is finished – on time and on budget.
According to Rena Boroditsky, the capital campaign, which was under the direction of the Jewish Federation’s former CEO, Bob Freedman, ended up raising $3.25 million.
In our May 13, 2020 issue we noted that, as of that date, there had been 400 individual donors who had contributed a total of $2.8 million. Bob Freedman said at the time: “The capital campaign has raised $2.8 million – that’s pretty darn good. Remember, in a capital campaign we give donors several years to pay off their pledges. In some cases we give three-five years – if it’s a larger pledge. Cash wise we’re doing pretty well. One of the reasons we’re starting (work on the demolition of the old house and eventually construction) is we have money to pay the contractor going forward – so it’s not just pledges. Close to half the pledges have already been redeemed.”
Fast forward to April 8, 2021 and, in a conversation with Rena Boroditsky, she told me that in the end there were 800 donors to the capital campaign. As well, the City of Winnipeg contributed $25,000 toward the construction of an elevator in the new building.
As Rena said, “For us to make a plan, raise the money and build it on time is quite an accomplishment.” (What is even more remarkable is that the City of Winnipeg has actually already given the Chesed an occupancy permit! For anyone who has dealt with the city on occupancy permits, that in itself is a minor miracle!)
Rena paid special tribute to Akman Construction for the speed and efficiency with which both the demolition of the old house that had served as the prior home of the Chesed was demolished and the construction of the new building was accomplished.
“We still have to buy some furniture,“ Rena noted, but the move back into the new home of the Chesed from what had been a temporary relocation to Chapel Lawn Funeral Home is proceeding rapidly. (Rena showed me her desk, which is situated for the time being in the middle of the floor in the Chesed chape, saying that she can hardly wait to move into her new office.)
As I toured the new building with Rena, she proudly showed me all the enhancements that will make the new Chesed something about which the entire community can be proud. Most notable perhaps is the additions of three – count ‘em, three washrooms! (No more waiting around to use a washroom before driving out to one of the cemeteries.)
Then, in one room that we entered, Rena said: “Here’s a surprise” – and she opened a special compartment housing the old safe that is a relic going back almost 100 years.
When I spoke with Bob Freedman last May, he explained what the safe is all about:
Bob: “Bernie, have you seen the safe? It must weigh 500 pounds.”
“So, what’s in the safe?” I asked.
“Not cash, unfortunately. When I first opened the doors, I opened a bunch of little books. People who passed away were recorded – by pencil or pen, by name – their Hebrew name, the date they died. So I looked up my mum, I looked up my dad. It’s really a history of the Jewish community. There was a big picture of the machers from the 1930s – all men, of course. There was a big picture of the ladies’ auxiliary – all looking very stern.
Bob added this observation: “By the way, if those men knew that the place was being run by a woman, they’d all be spinning in their graves.
“When you ask someone how do you define a Jewish community, as opposed to a community with Jews living in it, there are three things: A shul, a school, and a chevra kadisha – a burial society.
“Burial is one of the first things people thought about when they came from the old country. They looked for a place to bury people.”
Once the Chesed is fully functioning, Rena told me on April 8, it can be expected to handle between 115-140 deceased in a year. Last year was an especially bad one for deaths in our community, with 140 deaths recorded to the end of November – which is the end of the Chesed’s fiscal year, Rena noted. December – February was an even more brutal period for the number of Jewish deaths, she observed, with 68 deaths in those three months alone. (That number seems to have finally tapered off, thank God.)
And, while the Chesed serves as the home for Winnipeg’s Jewish community’s burial society (except for Temple Shalom’s own “chevra kadisha”, known as “Mikdash Shalom”, which is located at Chapel Lawn Funeral Home), very few funeral services actually take place in the Chesed chapel itself.
“Typically, we’ve only had about 30 funeral services a year held in the chapel here,” Rena noted. “But now that we have the new building, with a handicap ramp for the first time and three washrooms, once pallbearers are allowed to come back and funerals can once again allow guests to attend, we expect that there will be more funerals held at the Chesed itself,” Rena said.
She added that, as more and more members of the community remain unaffiliated with a synagogue, Rena anticipates an even greater use of the Chesed Shel Emes.
Local News
Interviews with the curator of the Nakba exhibit and the CEO of the Human Rights Museum
By BERNIE BELLAN On June 26, I was invited to attend the Canadian Museum for Human Right to see the Nakba exhibit prior to its being opened to the public. While I was there I was given the opportunity to interview the curator for the exhibit, Isabelle Masson, along with CMHR CEO Isha Khan. What follows are the transcripts of those interviews (edited only to remove pause words like “uh” and phrases the were repeated). The first interview was with Isabelle Masson:
Jewish Post: Several representatives of Winnipeg Jewish community organization say that they weren’t fairly consulted on this exhibit. How do you respond to that?
Masson: We came to this project with an awareness that Palestinian voices are often marginalized, even silenced, and an awareness that Islamophobia and anti-Palestinian racism have an impact on whose voice is heard and whose suffering is recognized. And so we intentionally chose to centre Palestinian voices with this exhibition.
JP: But to the point that many Jewish representatives of organizations and people within the community at large feel that the Jewish community should have been consulted on an issue that had such a direct impact on the Jewish community – did you not feel an obligation to consult with the Jewish community?
Masson: I think the best person to talk further about this issue is our CEO, Isha.
JP: In terms of the exhibit itself, I must say it really stresses the suffering that Palestinians have endured. But, in looking at other refugee situations around the world, the Palestinian situation seems to me to be unique in that there has never been an effort to resettle Palestinians within the countries to which they were forced to flee.
Do you not think that separates their situation (from other refugee situations) and, in some ways, it has made their situation worse than it could have been?
Masson: Well, the exhibit not only centres that experience of forced displacement and disposition as a longstanding experience across five generation that you know is tied to human rights violations that are ongoing today, but it also I want to point out, you know, foregrounds beauty, foregrounds resilience, foregrounds the maintenance of identity and belonging across time and across that experience. So there’s also these elements about this exhibition because it was also about humanizing Palestinians – about people with families with stories, with creativity – and coming back to some of the videos what interviewees say, right, we hope that Palestinians can be seen as fully human and hope that they can see Palestinians as having human rights and this this story today in this gallery is is a story about human rights.
JP: If I can focus on one particular aspect of the exhibit that I read this morning when I was sent the preview, it referred to what happened between the years 2000 and 2005 as a Palestinian uprising. But the Israeli term would be the Intifada which for them meant large-scale attacks – terrorist bombings by some Palestinians. Did you not think it necessary to include that in a larger context?
Masson: Well, we use uprising because it’s the most more accessible term in the exhibition and we, you know, we’re focusing really here on an artwork by artists – Palestinian American artist Reggie Cook and with an artwork that was trying to translate the experience of of occupation into what is created. So that’s the context in which we talk about that.
JP: But to ignore what happened during the uprising seems to me to leave out a major part of the context.
Masson: I don’t think that we are ignoring that. This exhibit is not about the full story of what has happened in Palestine, in Israel. It’s not, you know, the scope of this small exhibition. This small exhibition has a scope and the scope was really to create an opportunity and a place for Canadians to be able to encounter Palestinian Canadians and hear their voices.
JP: Given the current mood in the Middle East and the ongoing tensions between Israel and various other actors, the concern among many in the Jewish community that this is going to lead to a heightening of antisemitism and an exhibit like this seems that it it’s not going to do much to improve relations between Jews and Palestinians when it focuses on only one side of the story. How do you respond to that?
Masson: Well, this is only one exhibit of of many, of many stories that we have.
Following is my interview with Isha Khan. Khan began by explaining that she is “the CEO at the Canadian Museum for Human Rights and I’ve been here as CEO of the museum since August of 2020. So almost six years.”
JP: So let’s get right down to discussing (the exhibit). I spoke to the curator. I asked a lot of questions about the exhibit itself. I’m more interested in asking (you) about the general context and the atmosphere in the community. The accusation has been made repeatedly by various leaders of Jewish organizations that you have not been willing to consult on this exhibit. How do you respond to that?
Khan: I think the word consult can mean many things. We have a community engagement practice. So for us that means that depending on the scope of the exhibit and this exhibit is about Palestinian Canadians and their experiences, the impacts of the human rights impacts, of forced displacement, which means we engage with that community as we share their stories. Many folks in the Jewish community will say we haven’t consulted with them and yet we have met with leaders of Jewish organizations from across Canada, main uh, major federations, foundations, local Jewish organization representatives many times to talk about this exhibit, to explain what its scope is, what it’s about, what it’s intended to do, and most importantly, what it isn’t. And unfortunately there continues to be misconceptions about what it is. So we hope people will come and see it.
JP: I think the fear in the community – and I think it’s well founded is that this will foment an increase in antisemitism. Can you understand that concern?
Khan: Absolutely. I personally and any member of our team who’s talked to folks about this has said that we unequivocally share the concern about antisemitism in Canada today. That is part of our mandate. And we will continue to do that work and we can also share these stories of Palestinian Canadians – you know, telling the story of one community’s human rights violation in no way should negate or minimize the experience of another community. That’s what this museum was designed to do….designed to build understanding of shared humanity and that’s what we believe we’re doing responsibly.
JP: Just before I began this interview, I was taken (down to the fourth floor; the Nakba exhibit is on the fifth floor) to see the gallery of other human rights violations. I’m not sure what it’s called. (It’s where there is a ) recitation of various human rights violations, including what happened in 1947 and 1948 (in Palestine). They offer passing reference to the displacement of both Jewish and Palestinian refugees. Would you consider ever having an exhibit about the displacement of Jewish refugees from Arab lands in 1948 and subsequent years?
Khan: We would absolutely consider it and in fact have shared with leaders of the Jewish organizations months ago that yes, these are important stories that need to be told (and) invited them to work constructively with us on developing that content. Unfortunately we didn’t really receive much response.
JP: How long is this exhibit supposed to be on for?
Khan: So this exhibit right now we’re saying is a minimum of two years. That’s because it is an exhibit in a standing gallery and so it also depends on our updating of our other galleries and, you know, exhibits take a bit of time. This one is four years in the making and so we’ve just committed that it’ll be a minimum of two years and we’ll see where things go.
JP: There are a lot of other refugee situations in the world – (for instance) South Sudan, and just this morning I was saying to Isabelle that I received an email about the situation for people from Burundi in the Democratic Republic of the Congo.
I didn’t realize that was a problem. I know that the Congo has had ongoing problems with displacement of populations. It it seems to me it’s not an unlimited number of stories like this you could tell, but there are a lot of others. How do you decide which ones take priority?
Khan: We’re often asked the question of how we decide, and it comes back to how this museum is designed. Each gallery is intended to tell a different story. It has an objective. So this exhibit, Palestine Uprooted, is in our Rights Today gallery. It’s to talk about global human rights issues. And we know that people want to better understand human rights of Palestinians. There’s no question. It’s being talked about, debated, discussed all over the world. And so we’re being responsive there to that need. And we know that Palestinian experiences were under represented in our galleries and have heard that for years. To your point though that there are other stories – the design of this museum is that you ought to be able to feel something, understand something about the forced displacement of one community and apply it to another. So now this story stands along the forced displacement of the Rwanda people, indigenous peoples, Ukrainian people, the Igbo people. You’ve named a number of others that we do need to develop content on over time, but it’s done depending on what gallery it is, what we are trying to invoke…because we’ll never be the encyclopedia of all human rights atrocities in the world. That’s actually why we’re called the Canadian Museum for Human Rights rather than the Canadian Museum of Human Rights.
We’re here to to develop an understanding through the stories that will impact people.
JP: Okay. I want to ask a politically loaded question.
Khan: Okay.
JP: The Jewish population of Canada is at best 450,000. In that range, Jews don’t have the political impact that they used to. At most, there are 12 to 16 ridings where the Jewish vote can make a difference. The Muslim population has grown substantially. It has a much larger political impact. Did that factor in to this exhibit being mounted in any way?
Khan: Absolutely not.
JP: So, I’ll ask the question that I asked the curator of the exhibit. Where did the impetus for this come from? Did it come from Palestinian Canadians?
Khan: The this exhibit came from a recognition, our decision. I hold responsibility ultimately for the decisions made by my team. It was made based on the recognition that Palestinian experiences were under represented in this museum. We absolutely heard from the Palestinian community organizations in Canada and had heard for many years that their stories were underrepresented. Ultimately, the decision was ours. And as we look at this gallery and updating our content, this is ‘rights today’ – global human rights. We know that the world is talking about Palestinian human rights and the stories of Palestinian Canadians naturally belong in our collective memory alongside many other stories that are told here.
JP: There was one particular aspect on one of the panels when I was sent a preview this morning and it referred to the Palestinian uprising from 2000 to 2005 which led to a lot of Israeli deaths that we generally refer to as the Intifada. There’s no mention of Israeli deaths on that panel. Would you agree that might have been an oversight?
Khan: I mean I know that there the factual point is absolutely accurate. The decisions on the curation of the exhibit are not ones that I make, but certainly if that is a concern that we will look at.
Local News
Nakba exhbit at CMHR now open – here’s what it looks like
By BERNIE BELLAN (Posted June 26)The following press release was sent to me early Friday morning June 26 (Photos supplied by Annie Kierans, CMHR) Nothing that follows has been edited. I leave it to you to form your own opinion:
Winnipeg, MB — June 26, 2026 — The Canadian Museum for Human Rights (CMHR) will open a new exhibit tomorrow that explores human rights violations related to the ongoing forced displacement of Palestinian Canadians.
Palestine Uprooted: Nakba Past and Present will be on display in the Rights Today gallery on Level 5 until 2028. Featuring personal stories told through artifacts and video testimonies, the exhibit presents Palestinian Canadians reflecting on their ongoing struggle for human rights. The small exhibit reveals enduring patterns of loss and resilience, helping visitors understand more about this contemporary human rights story.
Palestinian Canadian stories are now included alongside many other stories of forced displacement and human rights violations featured in the Museum’s galleries. Each of these stories contribute to our visitors understanding of human rights and help the Museum fulfill its mandate to foster reflection and dialogue.
Exhibition highlights
Personal stories and artifacts: Experience firsthand accounts from Palestinian Canadians sharing their journeys of displacement and memory through a series of five artifacts. Cases display artifacts like property deeds, house keys, and a traditional Palestinian embroidered dress, accompanied by short videos that deepen understanding of the impacts of displacement.
Powerful artworks: In her painting Bound Together in Gaza, Malak Mattar, a Gazan artist, captures the struggles and resilience of her generation shaped by conflict. Her work pays homage to Guernica, Picasso’s powerful masterpiece depicting civilian suffering during war.
Curfews and Closures, by Rajie Cook, bears witness to life under military occupation during the 2000–2005 Palestinian uprising, when curfews and closures were expanded and further limited basic rights and freedoms.
Cultural heritage: Discover traditional Palestinian embroidery called tatreez. Tatreez motifs and colours are tied to place, family history and regional identity. Patterns are associated with particular towns, villages or areas of Palestine. In this way, tatreez is a form of storytelling: a way of preserving memory, sustaining identity and expressing resilience across displacement and exile.
Poetry and reflection: Engage with Mahmoud Darwish’s evocative verses, inspiring personal reflection on exile, voice, and responsibility. Visitors can take a card containing Darwish’s poem and add a personal note, fostering ongoing dialogue beyond the exhibit.
Contemporary context: Witness striking images of current events in Gaza and the West Bank, connecting past displacement to ongoing struggles.
Quotes:
“No force can silence the truth we carry. Growing up in Canada, my children lived the Nakba through our stories. And now we watch it happen again, live, on our phones. When I see the images coming out of Gaza, I am not watching the news. I am watching my history repeat itself.” -Fouad Sahyoun, a Palestinian Canadian featured in the exhibit
“We developed this exhibit with a clear awareness that Palestinian Canadian voices have too often been marginalized, silenced or spoken over — and that anti-Palestinian racism affects whose stories are heard and whose suffering is recognized. That is why we intentionally centred Palestinian Canadian voices throughout the exhibit.” -Isabelle Masson, Curator of Palestine Uprooted
“Human rights matter precisely when they are inconvenient, when the question of who deserves the dignity of having their rights recognized is genuinely contested. These are the moments where having a national museum for human rights is most important.
There are people who believe this exhibit should not exist in its current form. There are people who believe it should have existed sooner. There are people who will visit this exhibit and feel that it does not say enough, and others who will feel it says too much.
We have listened to every one of these voices. We have reflected. And we have renewed our resolve to continue the difficult, sometimes contested, and often controversial work of building understanding about human rights. We are a museum grounded in Canada’s human rights framework, whose mandate requires us to bear witness to the full complexity of the human story. We are proud to open this exhibit because the story it tells will help achieve that mandate, and because this story belongs in the collective memory of Canadians.”
- – Isha Khan, CEO
Local News
Nakba exhibit at human rights museum set to open despite mounting criticism
By NOAH STRAUSS (posted June 25) The Canadian Museum for Human Rights’ Nakba exhibit is scheduled to open this Saturday, June 27, despite growing criticism and calls for it to be delayed or revised. The exhibit has sparked public debate in Winnipeg and beyond regarding how it presents the history surrounding the creation of the State of Israel.
Earlier this week, Mark Berlin resigned from the museum’s board. In his resignation letter, he expressed concern that the exhibit presents a one-sided narrative and does not adequately address the experiences of Jewish communities affected by the events surrounding Israel’s independence.
The Nakba, an Arabic word meaning “catastrophe,” refers to the displacement of hundreds of thousands of Palestinians during the 1947–1949 conflict that followed the creation of the State of Israel. Critics of the exhibit argue that it focuses primarily on Palestinian displacement without sufficiently acknowledging the broader regional consequences of the period.
Some Jewish advocacy groups also point to the experiences of Jews who left or were expelled from several Arab and Muslim-majority countries in the decades surrounding Israel’s creation. Estimates suggest that between 850,000 and 950,000 Jews left or were displaced from countries including Iraq, Egypt, and Yemen, under a range of circumstances including persecution, expulsion, and confiscation of property.
In his resignation letter, Berlin, a faculty member at McGill University specializing in human rights law, wrote, “Telling the story with a one-sided perspective chosen by the museum serves to deepen division and contributes to further hostility toward Jews in Canada.”
Following his resignation, CIJA President Noah Shack released a statement saying, “The resignation of the museum’s only Jewish board member is a clear indictment of the museum’s handling of the controversial ‘Nakba’ exhibit.”
The exhibit’s VIP opening is expected to include invitations to representatives from all three levels of government. Winnipeg Mayor Scott Gillingham had initially been invited but later declined following discussions with representatives from the Jewish community, including CIJA Manitoba Vice President Gustavo Zentner and Jeff Lieberman, President and CEO of the Jewish Federation of Winnipeg.
Members of Winnipeg’s Jewish community are also planning a peaceful rally outside the museum on Friday at 5 p.m., according to organizers.
The Canadian Museum for Human Rights is expected to release a formal statement ahead of the exhibit’s opening.
(added June 26) To see interviews that Bernie Bellan conducted with Isabelle Masson, curator of the “Palestine Uprooted: Nakba Past and Present” exhibition at the Canadian Museum for Human Rights (CMHR) in Winnipeg and Isha Khan, CEO, CMHR about the exhibit go to curator of exhibit and CEO interviewed
