Features
Graphic artist Steven Rosenberg go-to guy for Winnipeg theatre and arts communities
By MYRON LOVE While graphic designer Steven Rosenberg’s name may be unfamiliar to most readers, his work is not. Rosenberg is a partner in Doowah Design. Every time you see a brochure, a poster or online art promoting the Winnipeg Art Gallery, the Manitoba Theatre for Young People, the Winnipeg Jewish Theatre and a host of other arts bodies, you are most likely looking at Doowah’s creations.
Over a career spanning more than 45 years, he has become the go-to guy for the graphic arts needs of Winnipeg’s art and theatre community. Past work has included the Manitoba Theatre Centre, the Royal Winnipeg Ballet and Prairie Theatre Exchange.
Rosenberg notes that there is only one graphic designer in Winnipeg who has been in the field longer than he has. In 2000, he was named a Fellow of the Graphic Designers of Canada (GDC) – one of just two designated Fellows in Manitoba – in recognition of his leadership role in the formation of the Manitoba Chapter of the GDC as well as in the national GDC organization.
The citation noted that “the number of awards that he received testify to the professional respect he has earned from his peers. Drawing from his experience of working with many non-profit and cultural institutions, he has written the rule book on working with pro-bono clients: the info sheet now included in our national binders. This is typical of Steven—he always establishes a solid methodology—even for projects that don’t pay”.
Although there are a few fortunate people who know from an early age what they “want to be” when they grow up, Rosenberg – like most of us – found his calling by a somewhat roundabout process that led to his seizing an opportunity.
“When I was growing up, I was the kid in the class who was always drawing things,” recalls the son of the late Morrie and Norma Rosenberg. “I have found though that learning to write precis (short summaries) in high school has turned out to be really useful in my work,” he notes.
When Rosenberg started university (at the University of Manitoba), it made sense to him, he recalls, to enroll in Fine Arts. But it was not what he expected. He realized that he was more interested in design.
After a year in Fine Arts, the future graphic designer switched to the regular Arts program. After university, he took some time for the de riguer – for recent university graduates of that era – tour of Europe. When he got back, he landed a job with a Federal Government-funded Opportunities for Youth program – working on a monthly titled Inland Magazine.
“I learned graphic design on the job during my two years working for the magazine,” he says.
The next stage in his career was with Credo Group which, he explains, was a community resource as well as creative development organization. “We produced animation, live films – and print materials on the side,” he recalls. “When Credo decided to drop its print operations, I took on those clients.”
For ten years after he parted company with Credo, he worked on his own. In 1989, he partnered with Terry Gallagher in founding Doowah Design Inc.
Early on, Rosenberg and Doowah Design’s services were much in demand for the National Film Board and Cinematheque. “Over a period of 10 to 15 years, we helped develop proposals for projects, created fact sheets and became involved in marketing,” he notes. “We worked with filmmakers such as Norma Bailey and Dave Barber (the guiding hand behind Cinematheque and godfather of our community’s filmmakers who passed away a few months ago).”
Over the years, he notes, Doowah Design’s client base has grown. “We focus mainly on the arts and non-profit organizations,” Rosenberg points out. Among the latter are Assiniboine Park and the Zoo and Rossbrook House, an inner city drop-in centre for youth – founded in 1976 by the Sisters of Sion – which provides a safe space for children and teens to congregate and learn.
“We also work with small publishers and musicians designing CDs, book covers, posters and occasionally promotion materials for concerts,” he adds.
One of his more unusual contracts was working with a church to market a columbarium (which is a repository for the ashes of cremated individuals).
One of Rosenberg’s highest profile assignments in recent years – in partnership with Terry Gallagher – was his central involvement in the development of Quamajuq, the Winnipeg Art Gallery’s all-new, standalone Inuit art gallery, home of the largest public collection of contemporary Inuit art in the world. “One of our challenges was developing strategies to help the public understand what the gallery is about,” he says. “That included educating people as to how to pronounce the name (KOW-ma-yourk).
“Generally, we work with clients with limited funds for promoting themselves,” Rosenberg points out. “We work to understand our clients’ needs and the messages they want to put out to the public and devise strategies to deliver those messages as truthfully as possible.”
Doowah Design, Rosenberg notes, consists of himself and Gallagher and designer and illustrator Prascilla Castro. Now in his early 70s, Rosenberg reports that his role in the company has changed in recent years.
“I am doing less actual design and more strategizing and research,” he says.
In his free time, he notes, he and his wife Susan regularly exercise (at home) and enjoy watching old movies, documentaries and British police shows.
Features
New movie, “Bau, Artist at War,” scheduled to open in Winnipeg on Sept. 26, tells the amazing story of Joseph Bau, whose marriage to his wife Rebecca was made famous in “Schindler’s List”
“They can starve us, beat us, cage us – but they could never kill our spirit.“ – Joseph Bau
A gripping new movie, titled Bau, Artist at War, scheduled to open in Winnipeg on Sept. 26 at the Grant Park Landmark Theatre, tells the story of Joseph Bau, whose dramatization of his marriage in Plaszow concentration camp to his wife Rebecca was an unforgettable scene in the movie Schindler’s List.
The film is based in large part on Bau’s memoir, Dear God, Have You Ever Gone Hungry? (published in 1998). The film was written by Deborah Smerecnik, Ron Bass, and Sonia Kifferstein, and is directed by Sean McNamara.
Featuring stellar performances by Emile Hirsche (who appeared in Once Upon a Time in Hollywood) as the protagonist, and Inbar Lavi (who appeared in the Israeli television series Fauda and the U.S. television series Imposters) as Rebecca, the movie is a combination love story and espionage tale that deserves attention in an era, as one commentator has said, “where survivors are fading away, and the Holocaust is slipping from memory.” It’s also a story about resistance during the Holocaust.
In the movie, during his time in Plaszow Concentration Camp, Bau is a Jewish forger, an artist and a designer. He is employed by the brutal commandant Josef Liepold to draw a newly planned wing in the prison. He is simultaneously forging IDs for Jewish inmates helping them escape the prison. Hirsche as Bau, also draws comics for the prisoners, and his gift of art inspires his future wife with his colorful “lifegiving” creations, to which she responds in the gloomy setting of the death camp. McNamara cleverly intercuts these wonderful artworks within the film’s action.
Joseph Bau was a man who defied the darkness of the Holocaust with art, humor, and an unbreakable spirit. A gifted artist and master forger, Bau risked his life to save others, using his talent to create false documents that helped fellow prisoners escape certain death. But in the depths of despair, he discovered something even more powerful…love.
In the Plaszow concentration camp, amid relentless brutality, Joseph met Rebecca – a woman whose courage matched his own.
Years later, when Joseph is called to testify against the sadistic Nazi officer who tormented him, he is forced to relive the horrors of his past. But through it all, he draws strength from the love that saved him, the art that sustained him, and the unyielding will that kept him alive.
A gripping war drama, a daring espionage thriller, and one of the greatest love stories of our time, Bau, Artist at War is a testament to the power of resilience, the triumph of the human spirit, and the unbreakable bonds that even war could not destroy.
Features
Israeli startup Combatica is transforming education and entertainment in Uganda through VR and AI technologies
In early June 2024, the Israeli startup Combatica opened the first next-generation virtual park in Africa, located in Uganda. This step attracted the attention not only of local residents but also of professionals worldwide. The use of artificial intelligence and virtual reality is changing the approach to education and leisure: what fundamentally new does such a project bring? Why is this considered a real technological breakthrough, and what new horizons does it open up for African countries and the entire world?
Combatica: The history of an innovative startup and its philosophy
The company Combatica was founded four years ago by a group of Israeli engineers and military experts. From the very beginning, its mission was to create a simulator of the future, combining gaming technologies and professional training for both military and civilian tasks. According to the Globes Israel portal, the Combatica platform was initially used in Israeli military structures for tactical training of fighters. But within a year, it achieved international implementation in the Middle East and Europe.
In this context, it is important to note that over the past two years, the company has not only increased sales in the domestic market but also attracted the attention of Frost & Sullivan analysts, who named Combatica the largest player in the tactical training market by 2025. International expansion became the next stage of development: now Combatica technologies go beyond military tasks, also covering education and mass entertainment.
Combatica VR park in Uganda: a new step for the region
The Combatica park in the town of Busika became the first of its kind for the African continent. At the same time, it is a space for recreation, an interactive learning field, and a platform for demonstrating technologies. The opening was supported by representatives of the local administration and the media, and the first visitors noted the extraordinary realism of the simulations.
In this context, it was significant that Uganda was not chosen by chance. As experts claim, the country is actively investing in digital initiatives and education, turning into a technological hub of East Africa. Why did the African region become the launch pad? The answer lies in the high interest in innovative forms of learning and the desire to attract the youth to the professions of the future.
Technologies and capabilities of the Combatica 2.1 platform
At the core of the VR park is the Combatica 2.1 platform—an integrated system combining artificial intelligence, real-time analytics, and elements of tactical games. As the developers explain, the platform creates complete immersion in a digital environment, and the scenarios bring participants as close as possible to real-life situations.
The technical characteristics of Combatica 2.1 include:
• More than 50 interactive scenarios modeling different levels of complexity
• Seven detailed maps reflecting real and fictional landscapes
• Special night vision modes for simulating operations in darkness
• An analytics system tracking each player’s actions in real time and allowing tasks to be tailored to individual needs
The term “metaverse” in this context means the unification of digital worlds where users interact not only with virtual objects but also with each other, while “portability” underlines the mobility of the solution.
Unique features: portability and adaptability
One of the key distinctions of Combatica is the exceptional mobility of the system. All the equipment needed to launch the platform fits into two standard suitcases, allowing a training or game session to be organized almost anywhere in the world with minimal preparation.
In this context, it is important that Combatica has proven its versatility. The platform has been successfully used in military exercises to practice actions in real conditions, as well as at corporate events and festivals for team games and leadership skills training. Can such flexibility be called a unique feature among similar VR solutions? Many experts tend to believe that it is precisely adaptability and ease of deployment that make Combatica in demand among different audiences.
Impact on education and the entertainment industry
In recent years, VR and AI-based simulations are gaining unprecedented scale. Modern scenarios include not only military missions or rescue operations but also team strategy games for teenagers and adults. Analysts note that in Africa, where access to traditional education and training is limited, such solutions open up fundamentally new opportunities.
For example, Statista data for 2023 show that the global VR training market reached $5.5 billion, with growth of more than 15% per year, and in African countries, demand is growing faster than the average. This approach is especially in demand among the army, security services, and educational institutions seeking interactive and effective tools.
International plans and ambitions: global scaling
The next stage of Combatica’s development is the launch of similar VR parks in the USA and Europe. According to company representatives, by 2026 it is planned to open at least three new centers focused on professional training, corporate programs, and mass entertainment. The demand for such technologies is explained by the desire to combine gaming experience, analytics, and training in a single environment.
In this context, it is important to emphasize that Frost & Sullivan analysts note a sharp increase in Combatica’s global sales this year. According to estimates, the dynamics are due to the flexibility of the platform and its rapid adaptation to different tasks, which is especially valuable for Western markets.
Expert evaluations and market recognition
In an interview with Globes Israel, Frost & Sullivan analysts noted: “Combatica is a market leader thanks to the speed of innovation implementation and consideration of user needs.” Sales of the platform in just the past six months have tripled compared to the same period last year. Success is explained not only by technological leadership but also by the ability to adapt to changing market conditions.
At the same time, some experts draw attention to a number of challenges: the cost of equipment, data security issues, and accessibility for educational institutions in developing countries. Although most of these problems can be solved in the coming years, it is important to take them into account when planning scaling.
Context and prospects for the region
The impact of the implementation of VR and AI solutions on the educational and gaming industry of Africa is hard to overestimate. The opening of the Combatica park may become an important catalyst for the development of technological literacy, specialist training, and attracting investments to the region. Nevertheless, experts emphasize the need to modernize infrastructure, train personnel, and create conditions for mass access to innovations.
In this context, the prospects seem promising: according to the African Development Bank, annual investments in digital education and interactive platforms will only grow, and the experience of Combatica can become a model for new projects on the continent.
Material prepared with the support of App1win
Features
Is Hamas a “treatable” cancer?
By GREGORY MASON If we define Hamas as a cancer, can we devise a strategy to, if not defeat Hamas, at least manage it? Is Hamas “treatable?”
Defining treatable cancer
Although the cancer charities like to promote the notion that we are winning the war against cancer, a reference that confirms the suitability of conjoining cancer and Hamas, the reality is that five-year survival rates are increasing only slowly. While curative therapies continue to improve, early detection —encompassing both greater testing participation and technological advancements in testing —appears to be the most crucial factor in lengthened survivability.
The key treatment condition is the stage at which cancer becomes known. The typical staging has four levels, where the tumour:
- remains entirely within the margins (edges) of the organ
- reaches the margins.
- moves beyond the margin and invades the surrounding tissues.
- move another organ or system.
Sometimes oncologists refer to precancerous growths as “stage 0” when a surgeon removes a skin lesion as a precaution. Progression among the cancer stages is known as metastasis.
Most important is to understand that the five-year survival standard includes no reference to quality of life. Most cancer treatments compromise quality of life.
Patients often assume the word “cancer” means a death sentence. Yet if detected early, the idea of “treatable cancer” invariably creates a sense of optimism since it also implies a course of action leading to a “cure.” Most oncologists are wary of raising false expectations when discussing the nature of a patient’s condition and the options for treatment.
Three conditions mark a treatable cancer. - Treatment options exist.
- Actions are feasible – the patient resides where the technology, talent, and treatments (medications) are available.
- Patients receive no guarantees that exist for a cure (complete remission), extension of life, or improved quality of life.
Treatment outcomes for cancer exist in several dimensions: the extension of life, the quality of that life, and the difficulty of the treatment. Patients and physicians face complex trade-offs, where the difficulty of the treatment versus the expected gain in quality of life may induce the patient to curtail active treatment. The patient submits to the inevitable and enters palliative care.
Setting aside voodoo, cancer treatments include surgery that targets specific tumour sites, chemotherapy that uses a cocktail of chemicals that targets cancerous cells without affecting healthy tissue, and palliative care. Palliative care accepts the inevitable course of disease leading to death.
The final issue is that a systemic cancer, such as lymphoma, stands in contrast to a tumour, which exists at a defined point. Treatment is different for each type. Systemic cancers require chemotherapy, while point cancers require surgery.
Hamas as a cancer.
Some may object to my characterization of Hamas as a cancer since they see Hamas as freedom fighters for Palestinian independence. No comment. No apology.
The origin of Hamas is the Muslim Brotherhood, which started in Egypt during the late 1920s as a labour movement among Suez Canal dockworkers, led by Hassan al-Banna. Its goals were to spread Islam across the Arab world, oppose colonialism (primarily British and French) and promote the Arab mission in Palestine. This movement has spread rapidly throughout the Middle East and beyond.
Hamas (Harakat-al-Muqawama-al-Islamiya or “Islamic Resistance Movement”) was established in 1987 following the first intifada, when Arabs living in Gaza, Judea/Samaria and East Jerusalem engaged in a violent protest against what Hamas and other groups perceived as unjustified Israeli governance over their lands. A core goal was to build support for the Muslim Brotherhood, which had lost support to Palestinian Islamic Jihad (PIJ) sponsored by Iran. It is one example of the conflict between Sunni Islam (Muslim Brotherhood) and Shia Islam (PIJ).
Rather than an isolated tumour, Hamas in Gaza is but a derivative lesion of the broader Muslim Brotherhood cancer. Although not part of the Palestinian Authority, it is the most popular movement in the West Bank. It may well have had a hand in the weekend attack in Jerusalem that killed six and injured 13, although many malign actors are available.
Another Muslim Brotherhood lesion is the Hamas leadership that has remained ensconced in luxury Qatar hotels. Israel’s recent attack on the Hamas leadership in Qatar is another attempt to excise the tumour, with a subtle twist. Qatar has operated duplicitously. On the one hand, it has sheltered Hamas leaders and shovelled buckets of money to support their war against Israel while also serving as a “neutral” mediator in the hostage negotiation. Along with Iran and Türkiye, it is a significant funder of the Brotherhood, not only throughout the Middle East, but also in Europe and North America.
Qatar has also opened a series of tumours in post-secondary education, especially in its funding of elite universities. This aligns with the long view inherent in radical Islam and the Muslim Brotherhood. Funding “endowed chairs” enables external funders to circumvent standard academic hiring procedures, placing academics with specific viewpoints in key academic positions. This becomes a critical element in the metastasis of radical Islam. In addition to promoting Islam and an anti-Israel perspective, these faculty members work in partnership with post-modern ideologies that undermine recognition of the past achievements of Western civilization. This is not to defend the past, as much exists in Western history that needs correction.
Defeating Hamas: Tactical win or strategic loss?
Israel’s goals in Gaza have fluctuated, reflecting its extraordinary duration and the existence of the hostages. Many do not want the Netanyahu government to proceed with the final expulsion of Hamas from Gaza. Most opponents to such a campaign within Israel fear it is not possible without massively increased civilian casualties, further hostage deaths, and a prohibitive cost in soldiers’ lives for the Israel Defence Forces.
In addition to the potential costs, commentators such as Andrew Fox believe it is not possible to eliminate Hamas. His essential point is that Hamas has shown a remarkable capacity to adapt. However, he has applauded the attack on the Hamas leadership in Qatar.
The situation has become dire. First, throughout the Middle East, a multitude of cancerous lesions exist in the form of radical Islamic parties vying for control. In the West Bank, in addition to Fatah, the Palestinian Authority (PA) includes other factions such as the Popular Front for the Liberation of Palestine (a Marxist-Leninist group), the Democratic Front for the Liberation of Palestine, the Palestinian Peoples Party, and the Palestine Popular Struggle Front. Not part of the PA, but very influential and popular are Hamas and Palestinian Islamic Jihad.
In Gaza, in addition to Hamas and Palestinian Islamic Jihad, the major political factions include Fatah (much weakened since 2007), a range of Salafi-Jihad Groups, and the Popular Front for the Liberation of Palestine, all of which vie for support. Finally, in addition, several clan-based militias are operating, which Israel currently funds and arms, primarily to irritate Hamas.
A multitude of factions may arise to fill the vacuum if Hamas disappears. Indeed, none are anywhere as strong and capable as Hamas was. But deep pockets exist in the form of Qatar, Türkiye, and Iran to rebuild Islamist military capacity in Gaza.
The many points of radical Islam, comprising funding in Western universities, the mass migration that results in multiple Western societies being unable to integrate newcomers, and post-modern ideas infusing government and corporate management, have merged to create a systemic cancer that seems impervious to treatment, certainly to precise tumour excision.
Israel can play a furious whack-a-mole model of surgical strikes to excise the many tumorous lesions originating from the Muslim Brotherhood. And it may succeed in bringing Hamas to the table to release the remaining hostages and cease its Gaza operations. Israel can score a tactical victory.
But if the West declines to address the systemic cancer of radical Islam and Hamas reconstitutes itself in the West Bank, a strategic victor will elude Israel, and it will return to excising yet another tumour.
Israel’s refusal to wage the information war and Western leaders losing their way and becoming politically indebted to recent migrants may become the strategic errors prolonging the conflict.