Local News
In Winnipeg, Everything’s “Coming up Roses”
Ed. note: Elsewhere on this website we have a story about Rabbi Carnie Rose having recently become the senior rabbi for Shaarey Zedek Congregation. At the time that story appeared, Gerry Posner was not aware that Myron would be doing a profile of Rabbi Carnie Rose, so he sent us his own story about the Rose family. But, in his own inimitable way, Gerry Posner tells the story of the Roses.
By GERRY POSNER With the recent arrival of Rabbi Carnie Rose to serve as senior rabbi for Shaarey Zedek Congregation and with his brother Kliel having served as spiritual leader of Etz Chayim Congregation since 2018, one should realize the full significance of having two brothers both serving as rabbis – for different congregations, in the same city.
You really have to go back 58 years ago – to the summer of 1967, when Rabbi Neal Rose and his wife Carol came to Winnipeg. Neal had come here to take a position in the Judaic Studies Department of the University of Manitoba (from 1967-2000).
Neal Rose had a tremendous impact upon the Winnipeg Jewish community – in the many roles he played. For instance, just ask anyone who was part of the alternative minyan which he led at the then Rosh Pina Synagogue during the High Holidays. You could also chat with anyone who was around during the 13 years when Rabbi Neal Rose served an an instructor in family therapy at the University of Winnipeg’s Department of Spiritual Care (from 2000-2013).
That was “Rose 1.0” (as in the Winnipeg Jets 1.0). As it turns out, Rabbi Neal and Carol are making a return engagement to Winnipeg (which I call “Rose 2.0”) to live here later this year – after some ten years living in St. Louis, Missouri, where Neal worked as a rabbinic scholar at Congregation B’Nai Amoona.
Now, with all of that said, one must not overlook the fact that the Roses and the rabbinate go beyond even sons Carnie and Kliel. Would you believe that the eldest son, Avi Rose, is a rabbi in Israel? Rabbi Avi Rose embraces what might be called the humanist aspect of Judaism. He is actively involved in leading life cycle events, teaching, assisting in rituals and indeed participating in Jewish calendar events. What Rabbi Avi Rose does is to focus on the person in his interaction with his congregants and fellow worshippers, inside and outside of the synagogue.
Then, there is Rabbi Or Rose. He is a rabbi, writer and social activist, and is the founding director of the Centre for Global Judaism at Boston’s Hebrew College. His writing skills likely emanate from his mother Carol, a well known poet. If going for 4 for 4 in the rabbinate for Neal and Carol was not enough of a rabbinical feat, add to that total the fact that daughter Adira is married to a rabbi, Michael Rose Knopf, the senior rabbi at Temple Beth-El in Stamford, Connecticut.
Of course, each of the Rose kids is a story. But one cannot just ignore the reality of the two Rose brothers holding leading rabbinic positions at the two largest synagogues in Winnipeg at the same moment in time. How did that come to pass? is the question congregants are lined up to discover – even if that means an early Shachrit service to get the answer.
Rabbi Kliel Rose has been at the helm of Congregation Etz Chayim since 2018. He returned to Winnipeg after a period of over 25 years away from this city. A graduate of the Jewish Theological Seminary, also a former spiritual leader in several congregations in the USA, then the rabbi at Beth Shalom Synagogue in Edmonton, the attraction for Rabbi Kliel Rose to come back to his roots in Winnipeg was palpable. After nearly seven years back with the congregation with which he grew up, he is conscious of the debt he owes to his parents, who were major role models for him. He is also aware of the relationships he developed in his growing-up years and the fact he was able to resume many of those connections so easily. During his time in the pulpit Rabbi Kliel has been honoured to receive a prestigious Human Rights Hero Award from “Truah: the Rabbinic Call for Human Rights.” Like his brother Carnie, Kliel is deeply involved in multifaith dialogue.
Kliel acknowledges the very unusual aspect of the two brothers working in the same city as rabbis of major congregations. He says that there was just no way for him to have imagined this scenario. He emphasizes the closeness he has with his older brother, referring to the fact that they often speak twice a day on matters rabbinical – or not. One of the comments Rabbi Kliel made about the future in Winnipeg with both Roses leading the way is that he sees this as a collaborative opportunity and not a competitive one. Interestingly, Rabbi Kliel Rose attributes his love of learning of Torah to his mother, who was his very first teacher. Kliel and wife Dorit Kosmin are the parents of five children. (Is there a future rabbi in the mix ?) He says that he benefitted from his parents in that they did not put any pressure on him or his siblings to enter the rabbinate. It just evolved.
Older brother Rabbi Carnie Shalom Rose, now 59, only recently conducted his very first Shabbat service at Shaarey Zedek. (I was there). He has had positions all over the world – in Canada, the USA, Israel, also the Far East, i.e., Japan, and Europe. Like Kliel, he was ordained at the Jewish Theological Seminary. He spent over 30 years in the rabbinical trenches. About 18 months ago he ventured into the Jewish organizational world when he assumed the role of President and CEO of the Mandel Jewish Community Centre in Cleveland, Ohio.
But, the pull to return to the synagogue and to Winnipeg was too great for Rabbi Carnie and his wife Paulie Zimnavoda Rose. After all, his whole career was centred in the synagogue. One aspect of Rabbi Carnie’s approach to his rabbinical duties is his emphasis on interfaith dialogue and relationships. He credits his parents for his firmly set belief in the importance of reaching out to the broader community. Most of all, he makes clear that it was Neal and Carol who nurtured his and indeed, all of the Rose family, with the love of Judaism. He, too, is amazed at the turn of events that has brought him and his brother together now. As Rabbi Carnie put it: “Winnipeg gave me grounding and an opportunity. I felt an obligation to return. I will gain if I can give back to those who gave to me.”
Carnie did return to live on Matheson Avenue, where he grew up, as he and Paulie took up residence in the south end of the city, closer to the Shaarey Zedek. The couple are the proud parents of four children, all of whom are now in their twenties, and all of whom are away at university, so Carnie and Paulie are now much sought after by Kliel and Dorit’s children – who finally have an aunt and uncle in the same city with them. Not so surprisingly, one of Carnie and Paulie Rose’s children, son Zakai, is preparing to follow in the family business, as he is a student at the Jewish Theological Seminary. Even the family of the legendary Gordie Howe of hockey fame could only produce two generations of NHL players.
What I came away with after talking to the two Rabbi Roses was first, how much they sounded like each other in voice; second, how close was their attachment to one another; and third, how much joy they anticipate working together from time to time in Winnipeg. At the time that I talked with both of them, for instance, they were excited about their plans to hold the first joint Tiisha B’Av service for Etz Chayim and Shaarey Zedek. They made me feel good about the future of Judaism in Winnipeg.
So what did the parents of these rabbis have to say? The patriarch of the family, Rabbi Neal Rose, was clear in attributing to his wife the fact that he and Carol have four sons who are rabbis and how it was that two of them ended up in the same city at the same time. He says that Carol had a huge influence on the children – right from an early age, in introducing the blessings and inculcating Jewish values. It was Carol, Neal says, who created an environment of learning which had such an impact on sons Carnie and Kliel. Her role in creating a Jewish home in Winnipeg for many years was instrumental in both Carnie and Kliel being open to returning to their original home of Winnipeg. True enough, the Rose boys both had a desire – in both their return engagements here, to serve as pulpit rabbis and, in doing so, to utilize one of their biggest assets: their strong interpersonal skills. Both are very comfortable in and enjoy that congregant to rabbi relationships -so critical in any successful synagogue.
As for the matriarch, Carol Rose, she agrees that this return to Winnipeg could not have been anticipated. She credits Winnipeg’s Jewish schooling and network of close friends for helping to secure a strong Jewish foundation for her sons. As she put it so succinctly, “The family had opportunities to grow up Jewishly.” With four sons now rabbis, and with their only daughter married to a rabbi, Carol clearly made an impact on her children. She admits that when she and Neal return this fall to Winnipeg, their biggest challenge will be to figure out which synagogue to attend each Shabbat. She also recognizes that even though Neal Rose has no plans to return to the pulpit, it is possible he might bless either or both congregations from time to time with his wisdom through occasional Divrei Torah or by teaching classes.
Some readers will recall the late Ethel Merman, who, without knowing it, foresaw this unusual moment in Winnipeg Jewish history appropriately in her song, “Everything’s coming up roses.”
Local News
Hundreds rally against opening of Nakba exhibit at Human Rights Museum
By NOAH STRAUSS Around 300 people gathered outside the Canadian Museum for Human Rights on Friday during the grand opening of the museum’s newest exhibit, “Palestine Uprooted: Nakba Past and Present.” (Ed. note: The CBC report on the protest said there were “100” people at the rally. I know there were more than 100, but I’m not sure there were 300 either.) The exhibit, which had a limited number of tickets available for opening night, sold out. The Canadian Palestinian Association of Manitoba had originally planned a rally in support of the exhibit’s opening, but it was cancelled just days before the event.
The Nakba, which means “catastrophe” in Arabic, refers to the displacement of an estimated 750,000 Palestinians during the 1947–1949 war surrounding the establishment of the State of Israel. The exhibit has drawn criticism from members of Winnipeg’s Jewish community and others who argue that it does not acknowledge the displacement and persecution of Jewish communities in many Arab and Muslim-majority countries following Israel’s independence and the 1948 Arab-Israeli War. Historians estimate that between 850,000 and 950,000 Jews left or were expelled from Arab and Muslim-majority countries during the decades surrounding Israel’s establishment. In countries including Iraq, Egypt, and Yemen, many had their property confiscated, while others left because of persecution or increasing hostility.
Supporters of the Jewish community came from all faiths and backgrounds. The Jewish Post spoke with Lisa Lewis, a longtime supporter of the Jewish community.
“I think there is a crisis of antisemitism happening right now,” Lewis said.
She was one of many non-Jewish community members who attended the rally. Lewis said she has been an active ally since the 2000s, helping Argentine immigrants come to Canada. Following the October 7 attacks on Israel, she said she has become a more vocal supporter of the Jewish community. During the rally, she wore a Magen David necklace.
Lewis also criticized the museum’s approach to the exhibit.
“The Jewish community organizations that represent the majority of the Jewish community weren’t consulted on something like this,” she said.
Cindy Clubb, another ally of the Jewish community who attended the rally, also voiced her concerns.
“I grew up with prominent businesspeople and members of the academic and medical communities. I don’t know what we would do without our Jewish cooperation. So I’m up here to support them, and I think all of Winnipeg should be out here,” Clubb said.
One protester, who identified herself as Michelle, said, “We are against the Nakba exhibit. It’s all lies.”
Gustavo Zentner, Vice President of CIJA Manitoba and Saskatchewan, said, “We are calling on Minister Miller to hold the museum leadership accountable. The Minister of Canadian Heritage needs to ensure that national institutions are not weaponized against Canadians to serve a one-sided political agenda. These concerns were expressed not only by the Jewish community, but by many concerned Canadians. At its core, this is a Canadian issue.”
Zentner did not participate in the community rally. He went on to say, “We are proud of the many community members, allies, and organizers who gathered at the museum before Shabbat began to demonstrate their concerns.”
The museum defended its decision to present the exhibit. CEO Isha Khan said that “human rights matter precisely when they are inconvenient.” She added that the museum “belongs in the collective memory of Canadians.”
The exhibit is scheduled to remain on display until November 2028.
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 that 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’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: 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
