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February 25, 2009

After Kindertransport —A Life Fully Lived, Recalled

Frieda Korobkin was orphaned by the Holocaust, but because she spent the war years living protected in the English countryside, she didn’t really consider herself a survivor — and she never thought about writing her memoirs.

That changed a few years ago, when Korobkin saw “Into the Arms of Strangers: Stories of the Kindertransport” (Warner Bros., 2000), directed by Mark Jonathan Harris and produced by Deborah Oppenheimer.

The film won the Oscar for best documentary feature in 2000 for its telling of the story of 10,000 children from Germany, Austria and Czechoslovakia who were allowed by the Germans to flee, without their parents, to the relative safety of England and Holland in 1938 and 1939.

Korobkin was angry that the film, though compelling, didn’t tell her own story — and the story of 1,000 other Orthodox children who were saved by Rabbi Solomon Schonfeld, a 26-year-old British rabbi instrumental in bringing thousands of European Jews to safety.

So Korobkin, a onetime English teacher, began to write, and the result is her memoir, “Throw Your Feet Over Your Shoulders: Beyond the Kindertransport,” released last month by Devora Publishing.

Korobkin was 6 when her parents put her and three older siblings on the Kindertransport to get them out of Vienna. The image of Rabbi Nissan Stolzberg standing forlorn on the platform, bleeding from an anti-Semitic attack on the way to the station is the last memory Korobkin has of her father. Her mother and grandmother couldn’t bear to go to the station and remained sobbing at home.

Stolzberg made sure his children landed in the care of Schonfeld, who had a school in London.

The book’s title comes from one of the young girl’s first encounters with Schonfeld. Soon after they arrived in England, Schonfeld came to meet his new charges and lovingly tested Korobkin’s knowledge of Yiddish. She blurted out the first expression that came to her mind: “Pack up your feet, throw them over your shoulders, and run.” Korobkin said Schonfeld, who always knew the names and details of the children’s lives, reminded her of this encounter for years after.

Korobkin’s book is devoid of self-pity or maudlin dramatization, but rather contains the heartfelt memories of a girl in extraordinary circumstances, told with a literary sense that transports the reader into her world.

Before Korobkin began attending Schonfeld’s secondary school, she spent two years separated from her siblings, living with British families — Jewish and non-Jewish. She has warm memories of Christmas pudding and a dog named Rusty at the Whyte-Smith family of Thorpe; she has bitter memories of the Jewish family in London where the older brothers were cruel, the mother cold and condescending.

But her fondest memories are of her years in Schonfeld’s Jewish Secondary School in Shefford, the village to which the school was relocated after the bombing of London began. There, reunited with her brother and one sister (the other sister was with an aunt), she made lifelong friends and found comfort in the familiar traditions of the home she had left behind, as well as in the ordinary pleasures of childhood — camping, sports, antics. She studied with Judith and Dayan Grunfeld, who rekindled her Judaism and laid the foundation for a Modern Orthodoxy that would last her whole life.

After the war, Korobkin graduated Schonfeld’s academy and then went to trade school to learn to be a secretary — she had to support herself. At 17, she moved to the newly established state of Israel. Her journey brought her back to London and eventually to New York and then Los Angeles.

Although she searched for years, it wasn’t until 1973 that Korobkin learned her parents’ fate. That year a mass grave was discovered in Brko, Yugoslavia. The names of her mother, father and grandmother were on a Nazi list of 200 Viennese Jews buried there. She learned they were three weeks away from boarding a ship to Palestine when they were executed. Their remains are now re-interred in Vienna’s Jewish cemetery, and Korobkin and her husband, Lenny, took a bitter trip to Vienna to say the Kaddish memorial prayer for her parents.

In 1999, she took two of her three children to London for a Kindertransport 60-year reunion. Her son, Rabbi Daniel Korobkin, director of synagogue services for the West Coast Orthodox Union, said he marvels at his mother’s past, which he is learning more and more about.

“I think it might be natural for someone who was raised as an orphan, as my mother was, to have a sense of inadequacy when you don’t have modeling from your own parents,” Korobkin told an audience at the Simon Wiesenthal Center recently, after his mother spoke. “The more difficulties I see in bringing up my own children, the more impressed I am with how my mother, together with my father, was able to hold it all together and raise a very wholesome family.”

After Kindertransport —A Life Fully Lived, Recalled Read More »

Despite Nods, Oscar Remains Elusive for Israeli Films

This was the year Israel was finally going to win an Oscar for best foreign-language film, after coming close in seven previous nominations.

After all, Ari Folman’s “Waltz With Bashir” had been named by the National Society of [American] Film Critics as the best overall picture of 2008 and had garnered a Golden Globe as best foreign-language film.

Even after Japanese director Yojiro Takita walked off the stage clutching the statuette for his film, “Departures,” he acknowledged in a backstage interview that “Waltz” had been the front-runner all along.

However, if the edgy, animated Israeli film about the first Lebanon war didn’t get the top prize, neither did those next in line, Germany’s “The Baader-Meinhof Complex” or France’s “The Class.” So much for the “experts” or, if you prefer, the peculiar ways of academy voters.

For Israelis, an Oscar win would have meant almost as much as the country’s first Olympic medal, but in the general disappointment it was easy to overlook the stronghold that another Jewish preoccupation, the Holocaust, still exerts on the imagination of filmmakers.

Britain’s Kate Winslet won best actress honors for her devastating portrayal of an illiterate former SS concentration camp guard in “The Reader.”

Even more impressive in its own way was the Oscar for the German live-action short film, “Spielzeugland” (Toyland).

The 14-minute film, which was four years in the making, is set in a small German town in the winter of 1942 and follows the friendship between two 6-year-old boys, the Aryan Heinrich and the Jewish David Silberstein.

When the Silberstein family is about to be deported, Heinrich asks his mother where his friend is going, and she tells him that David is taking a trip to Toyland.

Heinrich is intrigued, and when the town’s Jews are packed onto a train, the boy sneaks along for the ride.

In less than a quarter of an hour, the vignette tells us more about the emotional devastation sown by the Nazi regime than many a big-budget feature.

In most respects, though, it wasn’t a good night for the Jewish cheering section, which had to make do with Sean Penn’s Oscar for portraying a gay Jewish politician in “Milk.” Penn is the son of Jewish director Leo Penn, whose own parents arrived as immigrants from Lithuania and Russia.

Veteran comedian Jerry Lewis received the Jean Hersholt Humanitarian Award, recognizing his philanthropic efforts to aid muscular dystrophy victims.

“Waltz” director Folman, his wife and four animators attended the Oscar ceremony, while some 60 supporters, including Israeli diplomats and media, as well as the two German producers who raised half of the film’s budget, watched the broadcast at the Beverly Hilton Hotel.

The festive mood turned grim after “Departures” was named the winner in the foreign-language film competition.

Israeli Consul-General Yaakov Dayan did not hide his disappointment.

“I’ve been in Los Angeles for two years,” said Dayan. “Last year, ‘Beaufort’ was nominated but didn’t win. This year, it was ‘Waltz With Bashir,’ and it didn’t win. Maybe I’ll have to resign before we can take home an Oscar.”

Trying for a more cheerful note, one observer recollected that between the 1984 nomination of Israel’s “Beyond the Walls” and the 2007 nomination of “Beaufort,” some 23 years had elapsed.

“Now we’ve had Israeli films nominated for two years in a row,” he said. “That shows we’re getting stronger. Besides, there’s always next year.”

Despite Nods, Oscar Remains Elusive for Israeli Films Read More »

Bodies Akimbo, Batsheva Dancers Go ‘Gaga’

Everything in the bio of Ohad Naharin, the choreographer and artistic director of Tel Aviv’s Batsheva Dance Company, translates to forward motion. Naharin began life as a curious boy from an artistic family in Kibbutz Mizra, southeast of Haifa. Despite his late start in dance, at age 22, Martha Graham brought the handsome sabra to New York to join her troupe, jumpstarting his career. One year later, Naharin entered the Juilliard School and then did a stint with Maurice Béjart in Brussels.

Although a gifted, rubber-bodied dancer, Naharin suffered back pain so severe that it spurred a profound study of body physiology. Coining the whimsical term “gaga” to tag the proprietary dance-training method he developed, Naharin survived the setback. Gaga’s bone-marrow-deep, “inside-out” dance language, in which any body part initiates movement, infiltrated his choreography. Critics paid attention, and Naharin’s buzz and acclaim swelled. Now 56, an Israel Prize-winner and a French Chevalier de l’Ordre des Arts et des Lettres, Naharin enjoys the mixed blessing of being Israel’s highest-profile cultural export.

Delivered by his astonishing Batsheva ensemble, Naharin’s asymmetric and downright awkward moves meld with great group harmony. Naharin’s latest work, “Max,” will be performed by Batsheva at UCLA’s Royce Hall Feb. 28-March 1.

The company was founded in 1964 as a proper dance troupe for Israeli ladies-who-lunch by Graham and patron Baroness Bethsabée (Batsheva) de Rothschild. Under Naharin’s lead since 1990, the company has morphed into a movement think-tank for the barefoot-and-tattoo set. No dancer in Naharin’s posse behaves remotely like a nice Jewish girl or boy; on the contrary, their willingness to dig deep for their boss seems indefatigable.

Batsheva’s earthy endeavors have a primitive feel. Lying on the stage floor on their backs, Batsheva dancers writhe and wriggle — gorgeously. They march through space on tiptoe, clawing at the air with gnarly hands, while drawing their knees, weirdly, toward their chins. But while Naharin is ready to plunge his audience back to its own personal stone age, he’s reluctant to explain why.

“It’s conceptual art. If you can describe it, then don’t go see it,” he said of “Max.” A film clip of the work shows darkly percussive sequences with gibberish lyrics sung in Naharin’s deep low voice. (The “Maxim Waratt” music credit is a nom de plume for the musically trained Naharin; this is not his first contribution to his own dance scores.) Said Naharin: “‘Max’ is about composition and movement language. It creates an experience we cannot find elsewhere. It’s not imitating anything. It’s about itself.”

Über-cool music interlaced with enigmatic spoken word fills the sound-space; video monitors disseminate witty advice like, “Pay Attention”; yellow light dapples an otherwise murky stage, and dancer incursions into the audience are common. “I like to disturb by challenging the senses and imagination, but not by offending or attacking. At the end of ‘Shalosh,’ one of the dancers exposes his behind in an air jump. It’s meant to be funny, silly. But last week in Pittsburgh, two people stood and left the hall,” Naharin said.

Indeed Naharin’s dancers do his bidding with abandon. They gesticulate head, elbow, knee and tuchis. They splay limb, arch backbone, hyperextend joint. Sure, it’s body liberating, but … doesn’t it kind of hurt?

“On the contrary, it’s the opposite of hurting people. The only pain I allow is a pain from burning muscles. The body coordination and virtuosity my dancers develop protects them,” he said. 

The choreographer’s influences often come from beyond the world of dance: “I’ve been watching Hitchcock films lately. I don’t look for work that reminds me of myself. I look for work that inspires me with its difference. A lot of what I do is very controlled, like a Hitchcock film. It’s about creating the right level of tension between elements. My work is conceptual but it also has a plot; not a story in a linear way, but a story about composition, volume and balance. My work is about coherence, and Hitchcock is a lot about coherence.”

Naharin’s mother was a dancer and choreographer, his father an actor and writer. “My father put us to bed making up stories; he never read us a book. So the idea of invention and the power of imagination was very strong,” he said. “I was taken to see dance and encouraged to write, paint and sing. That was all a part of growing up.”

When questioned about the Jewish qualities in his work, Naharin comes alive: “I may be generalizing, but I think Jewishness is about abolishing the national connotation. Because you can be a Jew without having a country, without belonging, and you can be a Jew in many cultures. So being a Jew has a bit of a homeless feeling, as opposed to a national feeling,” he said, adding: “I dislike nationalism.”

“Being Jewish allows you to connect to human values, to something spiritual, something about admitting our weaknesses and our responsibilities toward our people, but not by identifying through their nationality.”

“I don’t believe Jews have a monopoly on passion. I know many Jews who are not passionate. I know many non-Jews who are very passionate. But there is devotion in Judaism; you hear it in the music and prayers and in relationships when we have deep religious feelings. When I say this, it makes me smile, because I am not religious. Ultimately, I believe that God is an invention of man.”

Bodies Akimbo, Batsheva Dancers Go ‘Gaga’ Read More »

L.A. Scholar Wins Book of the Year, USC Hillel Cuts Back on Shabbat Dinners

L.A. Scholar Wins Book of the Year
Los Angeles Bible scholar Tamara Cohn Eskenazi will receive top honors at the National Jewish Book Awards being presented March 5 in Manhattan for her work editing “The Torah: A Women’s Commentary,” published by Union of Reform Judaism Press and Women of Reform Judaism.

Eskenazi, a professor at the Reform movement’s Exposition Park campus of Hebrew Union College-Jewish Institute of Religion (HUC-JIR), and Rabbi Andrea L. Weiss, an instructor of Bible at HUC-JIR in New York, co-edited the volume, which won the Everett Family Foundation Jewish Book of the Year Award.

The volume includes textual commentary and essays that incorporate women’s perspectives and elucidate where and how the feminine character or perspective are included — or not included — in the biblical narrative. Scholars also offer contemporary reflections and creative responses, such as poems or original midrash, to fill the texts with modern meaning.

Also among the award-winners is Rabbi Harold Schulweis of Valley Beth Shalom in Encino for his latest work, “Conscience: The Duty to Obey and the Duty to Disobey” (Jewish Lights Publishing), which won in the category of Contemporary Jewish Life and Practice.

In this treatise, Schulweis, founder of Jewish World Watch, posits that Jewish ethics and history require violating or changing laws that break with moral conscience. He argues against the popular understanding of Judaism as a religion of unquestioning obedience and of God as being unapproachable, in favor of a philosophy of ethical assertiveness.

The 58th annual National Jewish Book Awards, sponsored by the Jewish Book Council, will recognize achievement in 16 categories. Among the other winners this year are Father Patrick Desbois, a priest who won in the Holocaust category for his account of his attempts to uncover the burial grounds of Ukrainian Jews; and California resident Lisa Alcalay Klug, who was a finalist for her book, “Cool Jew: The Ultimate Guide for Every Member of the Tribe” (Andrews McMeel Publishing). For more information, visit jewishbookcouncil.org.

— Julie Gruenbaum Fax, Senior Writer

USC Hillel Cuts Back on Shabbat Dinners
USC Hillel is canceling some of its Shabbat dinners, scaling back a weekly barbecue event and looking at other ways to reduce expenses in response to the growing recession.

“We don’t see it getting better economically in the near future. We’re being conscientious and economically responsible,” said Shira Moldoff, assistant director of development and outreach for USC Hillel.

Moldoff said the USC chapter has cancelled its catered Shabbat dinners on three-day weekends, because they draw few students. And a Wednesday barbecue social that cost USC Hillel $700 each week has been reduced to once per month, she said.

Regular Friday night meals, which draw roughly 50 students each week at a cost of about $650, have not yet been affected. But the chapter’s leadership is hoping to cut that expense in half by handing responsibility for some Shabbat meal preparation over to the students, Moldoff said.

One of the options under consideration includes having students and student leadership prepare meals in USC Hillel’s fleishig kitchen, just as UCLA Hillel does each week at its facility to reduce expenses. The USC chapter student board is planning to prepare and serve a Shabbat meal on March 6 as a trial run.

Another approach being considered is a Shabbat-in-a-box program, which would provide a boxed meal with challah and wine to students, who would be encouraged to organize and host satellite Shabbat dinners.

USC Hillel leaders say the fiscal cuts are pre-emptive in advance of the coming budget year, which begins July 1, and could help offset any potential shortfalls for this year.

Lee Rosenblum, USC Hillel’s acting director, said the problems confronting his chapter are not unique. “Every Hillel in the country is facing the same basic economic issues,” he said.

Rosenblum said he has not had to lay off anyone from his staff, adding that the topic had yet to be raised by USC Hillel’s leadership.

“We’re going to do everything we can to forestall that,” he said.

— Adam Wills, Senior Editor

Teleconference Explores Breast Cancer Blogging
Women who have survived or are currently being treated for breast cancer are invited to join a national teleconference about ways to record their personal breast cancer experience Tuesday, March 3, 8-9:30 p.m. (EST).

“Take It From Me: My Experience in My Own Words,” is hosted by Sharsheret, a New York-based advocacy and support organization for Jewish women with breast cancer. After panelists present their topics, callers will be able to participate in the Q-and-A portion.

Panels include: Living Stories: Writing or Recording Your Life Stories with Linda Blachman, author and founder of Mothers’ Living Stories Project; Journaling Through Breast Cancer: A Means of Self-Awareness and Self-Expression, with University of Pennsylvania creative writing teacher Janet Ruth Falon; and Why Do I Blog? Education, Convenience, and Tired of Repetition, with Dancing with Cancer blogger Jill Cohen.

For more information or directions on how to dial in, call (866) 474-2774 or e-mail events@sharsheret.org.

— Julie Gruenbaum Fax, Senior Writer

Shalhevet Student Raises Funds for Ghana Orphanage With Picnic in Park
A local L.A. teen and student at Shalhevet School launched Chari-Tea Picnic in the Park, an event that raised $3,000 for the CharSam House Children’s Home, an orphanage in Ghana, West Africa.

Tenth-grader Stephanie Salem teamed up with cousin Nili Salem and in under a month planned the fundraiser held on Sunday, Feb. 8. at Stoner Park.

Sammy Oduro, a native Ghanaian, and wife, Charlotte Oduro, founded the orphanage and were on hand to speak about why they chose to give up their careers in law and education to build and run an orphanage.

Eighteen kosher restaurants participated in the event by donating food and gift certificates. West African drumming and dancing, a professional magician named Fantastic Fig and a raffle that awarded participants with djembe drums all the way from Africa were also part of the three-hour event.

Two pieces of art from the personal collection of Roen Salem, chair of the fine arts department at Shalhevet School, were auctioned off as well.   

Nili said a 12-year-old who organized a similar picnic in Cape Town, South Africa, for another charitable cause, as well as a friend who had a musical bonfire and raised $700 in one night for hurricane relief in Haiti, inspired the fundraising effort.

— Lilly Fowler, Contributing Writer

L.A. Scholar Wins Book of the Year, USC Hillel Cuts Back on Shabbat Dinners Read More »

Perlman Plays Sinai Temple, ‘Bashir’s’ Folman Reacts to Oscar Loss

Perlman Plays Sinai Temple
Itzhak Perlman plays the violin with such grace, his strokes so effortless and his expression so pure that it seems as if the music he makes was created within him and not the result of some genius composer. In fact, during the two-hour performance at Sinai Temple on Feb. 19, he barely referenced his sheet music. Perlman is as intimately acquainted with the pieces he plays as he is with the multimillion-dollar Stradivarius that rests on his shoulder. Were it not for the fact that now and then he wiped sweat from his brow in a very cold room, you could hardly tell he was challenged.

The presence of a Carnegie Hall-size talent in a community setting lent the concert an atmosphere of intimacy as 1,000 people gazed at Perlman as if in a trance.

“It’s like watching Mozart in your living room,” the man sitting next to me whispered.

In his eloquent style, Perlman moved through scores from sophisticated to simplistic. He played Handel and Beethoven sonatas before launching into a more playful, improvised second act. Short, energetic pieces from Fritz Chrysler and Franz Liszt were heard alongside dramatic contemporary works like John Williams’ “Theme From Schindler’s List.” A consummate entertainer, Perlman peppered his performance with casual chatter, a poetry recitation and a few jokes.

A violin virtuoso since he was a child in Tel Aviv, Perlman was celebrating the 50th anniversary (to the day) of the time he first appeared on “The Ed Sullivan Show” and was catapulted into the international spotlight. Since then, he has performed with every major orchestra in the world, served as conductor at more than 14 major city symphony orchestras and won 15 Grammys and four Emmys. For all this and more, Perlman received a standing ovation before he played his first note.

‘Bashir’s’ Folman Reacts to Oscar Loss
“Waltz With Bashir” is a movie that expresses filmmaker Ari Folman’s hatred for war. But the run up to the Academy’s announcement for best foreign-language film felt like a war zone of the spirit, with Israeli Oscar dreams crushed by the Japanese.

“I was really hyped and tense. Then it was a drop of adrenaline immediately after the announcement of ‘Departures,’” Folman told The Circuit at the post-Oscar bash at the Beverly Hilton.

He described the exact mood at the Hilton’s International Ballroom, where the Israeli production team — not lucky enough to attend the actual ceremony at the Kodak Theater — watched the Oscars at a viewing banquet held by Jewish philanthropist Daphne Ziman’s Children Uniting Nations and co-sponsored by The Hollywood Reporter, Billboard and 93.5 FM The Beat.

Ziman spread her hope for Zionist victory by reserving several tables for the “Waltz With Bashir” brigade, engaging in hasbara (publicity) by leaving brochures about the film for some 600 guests, including Oscar Nunez (“The Office”), William “Billy” Baldwin, Jane Seymour and Tia Tequila.

The battle was long and drawn out as the best foreign-language film was announced more than two hours into the ceremony.

“It was a total build-up with five categories, then four categories, commercial breaks, sitting here feeling like my heart will jump out of my body,” said Tel Aviv-based animator Neta Holzer, moments after the Japanese bomb fell.

Israeli Consul-General Yaakov Dayan, on hand with consulate staff to provide support, shared the disappointment.

Folman, dashing in a tuxedo, acted like the dignified general as he graciously took time to speak with Israeli reporters, rehashing the same sound bites to give each warring network some individuality, all with the same basic message: “It’s a letdown, but on the other hand, we got so far,” he told them in Hebrew, “that it’s not so bad now.”

He now looks forward to going back to Israel and spending quality time with his family — in real peace. — Orit Arfa, Contributing Writer

Kosher Good Life in Oxnard
Add 10 tables of more than 200 assorted top kosher wines, stir in a buffet of chef Todd Aarons’ gourmet delicacies and simmer in the elegant expanse of the Tierra Sur, a gourmet kosher restaurant in Oxnard, and what do you get? The second annual International Food and Wine Festival hosted by Herzog Wine Cellars on Feb. 18.

The atmosphere was merry yet refined as CEO David Herzog and his nephew, Joseph Herzog, vice president of operations, showcased the best of kosher wines from Spain, Italy, France and California, with an entire hall dedicated to Israeli wines.

Winemakers shared their libations with a crowd of about 200 sprinkled with foodies and wine lovers of all religious shades, members of the Herzog Wine Club, Oxnard Mayor Tom Holden and renowned wine critic Daniel Rogov, who commented on “the increasing level of awareness among both Jewish and non-Jewish wine consumers that there need be no contradiction between fine wine and kosher wine.”

With cigars being hand-rolled in the corner, the evening certainly undid any stereotype that kosher keepers can’t enjoy the good life. — Orit Arfa, Contributing Writer

Perlman Plays Sinai Temple, ‘Bashir’s’ Folman Reacts to Oscar Loss Read More »