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April 5, 2011

Dancing rabbis win cheers

A sell-out crowd packed the American Jewish University’s (AJU) Gindi Auditorium on April 3 and watched as Rabbi Zoë Klein of Temple Isaiah tangoed her way to the inaugural “Dancing With the Rabbis” trophy. An ecstatic Klein, cheered on by her family, wowed the audience with her passionate routine with professional partner Daniel Ponickly.

In what turned out to be an incredibly fun evening, the rabbis and their partners put on a show that had people clapping and cheering in their seats.  Rabbi Mark Borovitz opened the night with a playful, jaunty cha-cha, and was followed by a game Rabbi Bradley Shavit Artson, who danced the fox-trot in a top hat and tux.  Rabbi Nina Feinstein got deeply into the spirit, wearing glittering bell-bottoms as she danced the hustle with partner Forrest Walsh.  And perhaps the sweetest moment of the evening came when Rabbi Elliot Dorff’s partner, Brittany Palmer, spoke glowingly of the respected scholar, saying that she left every rehearsal with him feeling like she’d had a great day.

Louis Van Amstel and Karina Smirnoff of ABC-TV’s “Dancing With the Stars” made a special guest appearance and tore up the stage with some truly impressive dance moves, though their last dance was so racy that it may have had more than a few members of the audience wondering whether they should clap or head home for a cold shower.

But the evening was Klein’s, and she won a generous donation for the American Jewish World Service with her dance moves. Asked what if felt like to be the rabbinic dancing champion, Klein called the experience “once in a lifetime” and said she was “so excited” that her family was there to watch her win. If the success of the inaugural event is any indication, this may not be the last that Los Angeles will see of “Dancing With the Rabbis.”

And for those wishing to get in on the act themselves, the AJU will be offering dance classes taught by the rabbis’ professional partners, so that everyone can learn to tango like a champion.

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A peek at ordinary lives in modern Russia

What happens to members of a generation when all the seemingly immutable verities of their childhoods are turned upside down?

Suppose you are in your late 30s or early 40s and are suddenly told that everything you learned in school about American democracy and its Founding Fathers was a lie.

Such abstract questions seem ready-made for a seminar at an American Psychological Society meeting but come to vibrant life in the documentary “My Perestroika.”

The film deals with the mind-bending reversal confronted by the generation of Russians who grew up under the communist regime, then saw the breakup of the Soviet Union, followed by capitalism run amok and now a milder form of the old authoritarianism.

Credit for the film goes mainly to Robin Hessman, a triple-threat as producer, director and cinematographer, who lived and studied in Moscow during eight of the stormiest years in modern Russian history.

She tracks the lives of five Muscovites, classmates from first grade on, through extensive black-and-white home movies of their childhoods to probing color interviews in the present.

Her primary subjects are Borya Meyerson and his wife, Lyuba, both history teachers in one of the city’s best schools; Ruslan, a former punk-rock star in the band NAIV; Olga, the prettiest girl in class and now a single mother working for a billiard table rental company; and Andrei, a self-made capitalist who owns a national chain of stores selling expensive menswear.

All of them recollect their childhoods as happy and secure. They played together, joined communist youth organizations and believed that they lived in the best country in the world. Like their middle-class parents, they looked forward to assured lifetime jobs — as long as they kept their political noses clean — and modest but safe retirements.

But when the five friends reached their early 20s, the Soviet Union’s foundations began to crack. Gorbachev introduced glasnost (openness), and later the political and economic reforms of perestroika (restructuring). In 1989, the satellite countries of Eastern Europe rebelled against Kremlin rule, and the Berlin Wall came down. Borya, Lyuba and Ruslan joined tens of thousands of demonstrators to foil a coup by Communist Party hardliners, and then corruption and food shortages pervaded Russian society under Boris Yeltsin’s rule.

Whether living under Brezhnev’s rule or Putin’s, the pony-tailed, intellectual Borya is the most rebellious of the lot. His surname, Meyerson, gives him away as Jewish, but not much is made of this fact in the film, with one exception. When his future wife, the non-Jewish Lyuba, tells her parents of her intent to marry a man named Meyerson, the father grumbles, “I knew a Jew would latch on to you.”

Perhaps the most lasting impression of “My Perestroika” is the contrast between the normalcy of daily life in Moscow and the Cold War headlines in the American press of the “evil empire” about to drop nuclear bombs on Washington. It is not so much that the American media (at least the more responsible ones) distorted the facts. Rather, journalists and their readers were unable to fit the saber-rattling headlines within the context of daily life in Russia, before and after the breakup of the Soviet Union.

That kind of dichotomy is a universal phenomenon, which I first discovered while experiencing the birth and growth of Israel on the ground, on one hand, and reading about the Jewish state more than 7,000 miles away in Los Angeles, on the other hand.

The contrast between the two perspectives is illustrated in a short anecdote:

Two brothers living in Europe decide to emigrate, one to a kibbutz in Israel, the other to a small town in Northern California.

In the early 1960s, the California brother reads about a terrorist attack in Jerusalem and telegraphs his kibbutz brother, “Stay if you must, but send the children here for safety.”

A few years later, the Watts riots broke out, and to foreign readers with no real grasp of the size and geography of Los Angeles, it seemed that all of California was in flames.

So the kibbutznik wired his brother in Northern California, “Stay if you must, but send the children here for safety.”

These observations led to what I have modestly dubbed Tugend’s Law, to wit: The perception of a crisis intensifies in proportion to the distance from the actual happening.

By sticking to the human experiences of its subjects, “My Perestroika” illustrates the ultimately reassuring lesson that whatever the scary headlines, people on the ground adjust, and life generally goes on.

“My Perestroika” opens April 15 at Laemmle’s Sunset 5 in West Hollywood. For additional background information on the film, visit www.myperestroika.com.

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Jewish life around the world illuminated in Skirball photo exhibition

A novel approach to photography is exemplified in “Illuminated Reflections,” the current exhibition at the Skirball Cultural Center Ruby Gallery, which features some 20 images based on Jewish themes from Israel, New York, Los Angeles and Mississippi — among them, a woman praying at the Wall in Jerusalem, the window of the Pike Street Synagogue on New York’s Lower East Side with a Star of David in the center, and a cotton field in Mississippi that was part of a series about Jewish life in the American South.

The photos, shot by Bill Aron, who has garnered an international reputation during a career that spans more than 40 years, have been embellished with gold and metal leafing by Victor Raphael, noted around the world for his work in a variety of media, including photography, painting, video and digital art.

One of the images leafed by Raphael is “Tallit Steps,” a picture, shot from above, of outdoor stairs in Jerusalem, with stone walls on both sides. Two little boys sit on the steps, and the interplay of light and shadow creates the appearance of recurring stripes reminiscent of a tallit, or prayer shawl.

“That’s what it has always felt like,” Aron said, “this prayer shawl with the black and white stripes. Because of the walls and the curve of the steps, it has sort of an enveloping feel to it. What Victor did was metal-leaf the shadows, all along the steps, horizontally. You know, modern prayer shawls are no longer black and white, they’re very colorful, so he transformed that image, for me, from a traditional prayer shawl into a modern prayer shawl.”

Perfecting the application of gold and metal leafing to photographs, which is an intricate and delicate undertaking, has occupied Raphael for some 30 years. He said that, in creating the hybrid works on display at the Skirball, he and Aron have revised and updated an old tradition.

“Everyone knows that gold leafing has been around for millennia,” Raphael said. “I mean, it’s been around going back to Egyptian times and certainly in illuminated manuscripts. And, when you look at Persian miniatures, gold is often an accented element that’s included and often highlights significant things or things that have spiritual connotations to them. So, from that point of view, that’s the historical context.”

Raphael is famous for combining traditional art forms with today’s technology. He is credited with groundbreaking achievements in the use of Polaroid photography. His “Space Field Series” contains Polaroids he took of images from space as they appeared on his television screen during a broadcast by NASA. He then enhanced the pictures with gold and metal leafing. His work was included in the 1996 traveling presentation “Polaroid 50: Art and Technology,” which displayed the 50 best examples of Polaroid photography.

Aron’s photographs are panoramic, which he achieves by standing in a fixed spot and shooting a series of overlapping views while slowly turning in a circle. He then stitches together the individual pictures to create the desired result. In “Panorama of the Western Wall Plaza,” the viewer is looking down on tiny figures in the distance praying at the wall, while others mill about on the plaza, with the city of Jerusalem in the background. The entire sky has been gold leafed by Raphael.

The two collaborators have been friends for years. Each has had exhibitions in major museums and galleries around the world, and each has works in prominent collections. Both are founding members of the Jewish Artists Initiative (JAI), a community of Jewish artists in Los Angeles.

A Jewish thread runs through almost all of Aron’s personal projects.  His first book, “From the Corners of the Earth: Contemporary Photographs of the Jewish World,” with an introduction by Chaim Potok, focused on images from Jewish communities of the former Soviet Union, Russia, Cuba, New York, Los Angeles and Jerusalem. More than a decade later, he produced a second book, “Shalom Y’all: Images of Jewish Life in the American South,” with text by Vicki Reikes Fox and a foreword by Alfred Uhry. Aron has been working on two additional books over the past few years: For “Cancer’s Silver Lining: Portraits of Hope,” his one non-Jewish effort, he shot photos of 100 cancer survivors whose diagnosis turned out to be a positive influence in their lives; for his other project, he photographed 100 Holocaust survivors in Southern California, emphasizing the full, rich lives they have lived in spite of the horrors they experienced. 

Aron expanded on his propensity for Jewish themes. “I did not grow up all that observant, but I’ve always seen Judaism as a thing of beauty to look at while I was participating. At a certain point in my life, I was changing careers from sociology into photography, and I was also trying to figure out what kind of a Jew I wanted to be. And so, as I began to explore being a photographer, I was also exploring being Jewish. The camera helped me do that. The Judaism helped me, too. Each helped the other.”

Aron added that he and his wife belong to a minyan and have a wonderful Jewish life.

In contrast, Raphael is a secular Jew, though very much aware of his roots.

“I have a Sephardic background, so I always feel that that informs my interest on one level with leafing. You know, it’s connected to Spain and the Golden Age of Spain as well as the Byzantine world that all the Jews who got expelled from Spain found for themselves when they got into the Ottoman Empire. And I’ve been back to all those places, so I have a lot of history with being in Spain, being in Istanbul, where my [paternal grandmother] was born, and the island of Rhodes, where my other grandparents were born. It’s something to which I’m very deeply connected, in spite of the fact that I’m not observant.”

One of the pieces from the Skirball exhibition to which Raphael feels particularly connected is “Early Morning Light.” The shot captures a market area in Jerusalem before the day has started. 

“The sunlight that’s coming in is basically providing a light in the center of the photograph. Everything else goes dark because the shopkeepers haven’t opened up their stores yet.  Jerusalem has this mythological identification as the City of Gold in terms of the quality of the light and all of the legends and mythology that’s around the city, so for me, when I decided to use that center area as the area I was going to leaf, the area almost became like a river of gold, if you will, flowing right down the middle of that marketplace. I wanted something that was metaphorical, evocative and yet somewhat mysterious as well.

“One of the things that I hope to bring to the artwork that I create,” Raphael said, “is really a sense of wonder and a sense of amazement at being alive, of getting tuned in to the details of life. And I hope this particular body of work with Bill, where I’ve selected certain elements to leaf and to have transform the photograph, fascinates people and elicits a response from those who view it.”

For Aron, it’s important that people who come to the exhibition feel they’re looking at something new. “Secondly, I’d like them to see that art doesn’t have any boundaries. Gold leafing doesn’t have to be only a certain kind of gold leafing. Photography doesn’t have to be only photography.

“There’s no message in the conventional sense. I try and have my photographs reflect a certain feeling that I’m having when I’m photographing. And I would like viewers to be able to know that feeling.”

“Illuminated Reflections” continues at the Skirball through May 8, then will travel to the Jewish Museum in Portland, Ore., and, in 2012, to Hebrew Union College-Jewish Institute of Religion in New York.

Illuminated Reflections: On view through May 8, 2011, at the Skirball Cultural Center, 2701 N. Sepulveda Blvd.,  Los Angeles, CA 90049; (310) 440-4500.

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Budget cuts to community colleges could impact Jewish Studies

As reported in the Los Angeles Times on March 31, the failure of Democratic and Republican lawmakers in Sacramento to agree on a budget could mean cutting the spending on the state’s 112 community colleges by $800 million.

In addition to an already-planned hike in student fees of nearly 40 percent, the additional cuts would mean eliminating courses from community college offerings, loading more students into the classes that remain and admitting fewer students.

But even before the breakdown of budget talks, austerity measures were being felt at the Jewish Studies department of Los Angeles Valley College (LAVC) in Valley Glen, one of only a few community colleges in the country to offer a two-year degree in Jewish Studies.

“The effects are obvious,” Rabbi Mark S. Goodman, an adjunct professor of Jewish history and religion at LAVC, said. Goodman had about 25 students in his Hebrew Civilization course in the fall 2010 semester; that number doubled in the spring. “Classes all around the community college have been cut, so students need classes,” Goodman said.

Scott Svonkin, a candidate running for the only open seat on the Los Angeles Community College Board not decided by the election on March 8, called the projected cuts “tragic.”

“Los Angeles, which is one of the largest community college districts in the state, will bear the brunt of the cuts, and the effect will be devastating on the individual students,” Svonkin, a senior adviser to Los Angeles County Sheriff Lee Baca, said.

In March, Svonkin received 35 percent of the vote — more than the six other candidates running for the seat, but not enough to avoid a runoff. He faces Lydia A. Gutiérrez, who received 14 percent of the votes, on May 17.

“I am going to fight for community college students because I was one of them,” said Svonkin who attended Pasadena City College, then transferred to California State University, Northridge, and went on to work for politicians including Tom Bradley and Paul Koretz, often as a liaison to the Jewish community.

If he does win the seat, Svonkin said he would work to reform the district, and its construction spending in particular. “We still have $2 billion in construction to do,” Svonkin said.

Money that has been allocated for construction cannot be redirected to cover operating expenses, which has led Mona Field, past president of the Los Angeles Community College Board who won a new term as a board member in the March election, to fear the worst.

Summer programs, Field said, could be among the first offerings to go. “Whatever we offer will be the bare minimum,” Field said, noting that courses like Jewish studies could be particularly vulnerable.

“We’re going to have these fabulous buildings and nobody to occupy them,” Field said.

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An organic, self-sustaining farm in Costa Rica where faith and hope are cultivated

Earth Rose Farm in Costa Rica is situated on a remote hillside between the villages of Santa Fe and Esperanza, or “faith” and “hope.”

It takes faith and hope to get there.

It’s located only a few miles off the main road of the sleepy town of San Isidro de El General, but getting there is a half-hour trek in a 4×4 along narrow, hilly roads overlooking lush cliffs fenced by trees.

For the dozen or so American farmers who have settled in this fertile countryside to conduct experiments in self-sustaining permaculture, isolation from civilization is part of the charm. With proper preparation, a family can live on the farm indefinitely without ever having to leave for food.

“After three heart operations, I realized a change was needed in my existence, and the word ‘self-sustaining’ became very important to me and my family,” said the farm’s founder, MaJi (pronounced May-Jai), from a termite-ridden farmhouse he plans to tear down once his two-bedroom home is ready. 

Story continues after the jump.