Local News
Rady JCC reports deficit of $377,994 for 2022 fiscal year
By BERNIE BELLAN As someone who has attended my fair share of Annual General Meetings over the years, my impression is that an AGM is not meant to serve as a forum where management is subjected to scrutiny over its performance.
I especially recall attending AGMs of the Crocus Fund, during which management did its level best to conceal the true performance of the fund. It was at the 2002 AGM of the Crocus Fund, however, that I stood up and, undoubtedly much to the chagrin of the members of the management team who were there, I said that I thought the Crocus Fund was in deep trouble and that unitholders were being kept in the dark about the true picture of the Crocus Fund.
Even though it took another year and a half for my assessment to be proven true, eventually the Crocus Fund was forced to halt sales of its shares, and was subsequently placed into receivership.
So, when I attended the most recent AGM of the Rady JCC on November 28 I went in determined to ask some pointed questions, regardless what other individuals who were there thought of the temerity of someone disrupting what had been, to that point, an evening of self-congratulation.
Now, as anyone who has attended any Jewish organization’s AGM would well understand, the main part of the proceedings is to get through the very boring financial report as quickly as possible and move on to a celebration of volunteers and employees who are to be recognized for their contributions to those organizations. And, until Covid entered the picture, the highlight of every AGM was the pastry table where attendees could feast following the AGM.
Serious affairs – those AGMS.
Well, for anyone who’s been paying attention the past two and a half years though, the Rady JCC has undergone what is undoubtedly the most harrowing period since it first opened its doors in 1997. Covid dealt a terrible blow to the Rady JCC, with a huge drop in memberships and a severe reduction in programming that began in March 2020 and which has continued through to the present day, although the situation has improved considerably in the past year.
That’s why, as I entered the multipurpose room of the Asper Campus on Monday evening, November 28, I was anxious to see whether anyone else was interested in asking any questions about the true state of the Rady JCC. Without going into every little detail of that report, here’s the nutshell: The Rady JCC showed a loss of $377,994 in 2022 (year end August 31, by the way).
That compares with a profit of $1,124,950 for the 2021 fiscal year. How is that possible, you might ask, when 2021 saw the Rady JCC absolutely shellacked as a result of Covid? Consider this: Membership revenue in 2021 dropped to $706,823. In 2019, which was the last year before Covid, membership revenue was $2,090,933. That’s a 66% drop in membership revenue! The explanation, if you read on, is quite simple: Government assistance is what kept the Rady JCC alive in 2021.
So, when the 2022 financial report showed that membership revenue had climbed somewhat over the 2021 figure – to $1,152,489, but was still a long way off from the pre-Covid figure, I was anxious to ask this question of the person who was delivering the financial report, whose name was Kyle Ibbetson:
“Just how many members does the Rady JCC actually have?” I asked.
As an aside, I was the only one to ask any questions at the AGM. I was told afterwards that if I had any questions I would have been better off to send them to Barry Miller, who is the Rady JCC’s Director of Finance and Administration. Right – as I noted previously, an AGM is no place to ask serious questions. It destroys the levity of the moment during which everyone is looking forward to a celebration, not a serious probing of what’s really going on.
In any event, I was somewhat surprised that Ibbetson actually had some figures to report in response to my question: The Rady JCC has 1700 members, he said, down from 2500 pre-Covid. (In a subsequent email Rady JCC Executive Director Rob Berkowits clarified that the correct figure is “1750” units. By the way, a unit can refer to anything from an individual to a family. If you read on you’ll see that I’ve always had difficulty with that term.)
Be that as it may, however, as I pored over the financial report while everyone else was watching a series of awards being handed out, a major discrepancy occurred to me as I did some quick calculations: If the membership had dropped from 2500 to 1700, that represented a 32% drop in membership, but what was the actual membership revenue prior to Covid – not the number of member units?
For that I had to wait until I was able to get home and Google previous financial reports of the Rady JCC. That was when I found the figure for membership revenue for 2019, as noted earlier, was $2,090,933. Membership revenue for 2022, according to this year’s financial report, was $1,152,489. That represents a 45% drop in membership revenue from 2019. So, if member units were down 32% but membership revenue was down 45%, what could explain that fairly large discrepancy, I wondered?
That same evening I penned a fairly long email to Barry Miller, which was also addressed to Rob Berkowits, in which I asked that question, along with several others.
Here is what I asked about membership revenue:
“In the area of membership, according to what Kyle Ibbetson said, you’re down from 2500 to 1700 pre-Covid – a 32% drop. But when I look at revenues from membership in 2019 they were $2,090.933, while in 2022 they were only $1,152,489. That represents a 45% drop in membership revenue from 2019. Can you explain the discrepancy between a 32% drop in member units and a 45% drop in membership revenue?”
Here is the response I received:
“The impact that the pandemic had on our membership and corresponding membership revenues has been drastic.
“When we were required to close the first time in March 2020, our membership units were at 2,628. We hit a low of 1,232 in October 2021. This represents a decline of 53%. The climb back up was very slow at the beginning as people were not comfortable coming to a gym or congregating and there were still many restrictions on gathering sizes, gym capacity, etc put on by the provincial government.
“We have slowly climbed since that date and we are now aggressively marketing new memberships and win backs. As of today, we are at 1,750 membership units, which is still down 33%.
“The revenue stream does not coincide with the drop in membership numbers. As you stated, membership revenue for 2022 is down 45% from 2019. As you are aware, we have memberships that range from $250 to $1,367 per year. The pandemic more greatly affected our higher membership fee categories (families, adult and senior couples, one parent family etc). If you lose a family membership as opposed to a child membership, yes, you are down one membership. But you are down 5.5 times the revenue. That is why it is very difficult to use the two statistics comparatively.”
I asked about the actual number of members, writing that “referring to membership units is rather vague. I know that’s the term that has always been applied when I’ve had discussions both with Gayle and with you, Rob, about memberships, but can you put it in actual terms of members, i.e., how many members were there in 2022 in comparison to 2019?”
The answer (and it is clear this was from Rob) was: “We have always referred to membership as a unit. That is the manner that we budget and report. The variables make it easier that way as each family unit or one parent family unit can have multiple individuals on it, non of which affect revenue.
“Just as information, the 1,750 membership units that we have today represents 3,076 individuals. I am not able to obtain that statistic historically, it is a live data file.”
Another area of the financial report that stood out for me had to do with fundraising. Elsewhere in the Rady JCC annual report, Rob Berkowits wrote that the 2022 sports dinner was “the most financially successful event in its history, raising $400,000 after all bills were paid.”
Yet, while the financial report did say that total fundraising for the Rady JCC raised $976,763, as compared with $401,214 in 2021 (when there was no sports dinner), fundraising expenses in 2022 were $563,856, while they were only $77,7987 in 2021. As a result I asked this question in my email to Barry and Rob: “The total profit from fundraising was only $79,480 more in 2022 than in 2021. If the sports dinner raised $400,000 after all bills were paid,’ according to Rob’s report, why was there only $77,787 more raised in fundraising in 2022 than in 2021?”
The answer I received was fairly detailed – and quite complex, but here is the most salient point, written, I assume by Barry Miller: “In the areas of other fundraising, our costs associated with the donations were considerably higher this year than in 2021 ($156,000 in 2022 as opposed to $36,000 in 2021).”
I suppose I might like to explore why that was at another point in the future – and by now, anyone reading my ongoing reports about the 2021 census would know that I like to crunch number, but for the moment, we’ll leave that aside.
Finally though, one figure in the 2022 financial report just jumped off the page, and that was the amount of government assistance the Rady JCC received in 2021: $1,690,109. (It dropped to $434,898 in 2022.)
I took a look at the 2020 financial report and saw that the Rady JCC also received a huge amount of government funding in 2020: $750,605. As a result the total amount of government funding the Rady JCC has received the past three years is $2,885, 612.
I think it’s fair to say that, without that government funding, the Rady JCC would have had to close its doors permanently – and I suggested that in my email to Barry and Rob.
Here is the response I received and again, I assume it was written by Rob: “If it wasn’t for government assistance, there are many many many businesses and organizations, both for profit and not-for-profit that may not be around today. Whether Rady would be one of them is very open to conjecture and opinion. We went into the pandemic in a strong financial position and we have many very loyal members, donors and third party funders to support us.”
That may indeed be true, but looming over this entire discussion of Rady JCC finances is this question: How many of the Rady JCC’s members who have not renewed their memberships (which, I submit, is evidenced by the 45% drop in membership revenue much more clearly than the 32% drop in “membership units”) may return to the Rady JCC at some point? Further, despite the notion that Covid is behind us, if at least one-third of Rady JCC members have not returned to the Rady JCC since Covid (and, as I would argue, the figure is likely much more than one-third based on the total drop in membership revenue), are former members staying away because they don’t feel sufficiently safe at the campus or are there other reasons? Perhaps some members have joined other facilities, while others installed home gym equipment. Regardless the reasons, there is no doubt that the drop in membership revenue is having a huge impact on the Rady JCC’s bottom line.
Finally, if there should have been special awards handed out at this year’s AGM for service above and beyond, it should have gone to representatives from the provincial and federal governments for the assistance both levels of government delivered to the Rady JCC over the past three years.
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 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
