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helps us connect with other 
communities with troubling 
histories. It allows us to see 
one another, connect in that 
way and build a commu-
nity and allyship especially 
at a time when allies are so 
important.” 
The idea for the temple 
performance came from 
a member of the chamber 
music group (saxophonist 
Tim McAllister) and moved 
ahead last May with dis-
cussions about associated 
programming as initiated by 
Maury Okun, president of the 
chamber group, and his sister, 
Ruthanne Okun, immediate 
past president of the temple.
Sessions, falling under the 
main title of “Perseverance 
of the Human Spirit,” were 
developed to include music 
and discussion. 
“Gomidas: His Life and 
Music” was designed with a 
tour of the church art collec-
tion on Jan. 21 at St. John’s. 
“Creativity Output,” show-
casing the talents of pianist 
Alvin Waddles and Black 
music makers, was given a 
Jan. 25 date at Hartford. 
“Examining Music of the 
Holocaust” — spotlighting 
Patricia Hall, University of 
Michigan music professor; 
Ruth Bergman, director of 
education at The Zekelman 
Holocaust Center; and Cantor 
Rosalie Toubes of Temple 
Emanu-El — will be the pro-
gram for Feb. 4 at the temple. 
“Reflection: A Panel 
Discussion and Reception” 
will be held Feb. 18 at the 
temple and be moderated by 
Zerwekh. Participants include 
Rabbi Asher Lopatin, exec-
utive director of the Detroit 
Center for Civil Discourse; 
Rev. Jean Overman, Western 
Wayne County NAACP 

executive board member; 
and Very Reverend Fr. Aren 
Jebejian, pastor at St. John 
Armenian Church. 
“The opera is about a 
maniacal dictator who brings 
down the world,” Maury 
Okun said. “The music came 
out after the Holocaust, and 
it started getting played in 
the 1970s. It’s an hour-long 
presentation that we started 
thinking about in the context 
of subjects like the Armenian 
genocide and the African 
diaspora. 
“That’s how we decided to 
approach our friends in the 
Armenian church and the 
African American communi-
ty. Our organization has been 
doing collaborative perfor-
mances for a long time. We 
have those relationships on 
which we can call and know 
of interesting musicians in 
other places.”

The program is funded 
in part with grants from 
the state and The Peck 
Foundation. 
“The one goal is to bring 
people together in an oth-
erwise dreary time and to 
recognize that, even in the 
face of adversity, there can 
be beauty,” Ruthanne Okun 
said. “To think that someone 
had written an opera while 
in a concentration camp, was 
able to persevere and do the 
things he loved even when 
the situation was so tough, 
certainly is resilience in the 
face of adversity.
“I think each program is 
unique in its own right. I 
think each program offers the 
opportunity to learn about 
each institution and music, 
hear from other people who 
have similar interests and 
develop friendships because 
of the common bond of 

music.”
Zerwekh, a member of 
the Coalition for Black and 
Jewish Unity, had not had 
a chance to work with the 
leaders of the St. John and 
Hartford churches. 
“I think any program that 
allows us to learn more and 
get a deeper understanding 
of our own history while also 
helping us connect with other 
communities through their 
own stories is an amazing 
event, and I’m excited to have 
it at temple and at other reli-
gious institutions,” the rabbi 
said. 
“I’m excited to bring some-
thing like this to temple with 
this holistic approach. There’s 
going to be art, music and 
intellectual conversation. I 
think there’s something for 
everybody. This is the sort of 
program that I hope to con-
tinue to bring to temple.” 

Details The opera program, “Creativity in the Face of Oppression,” will be 
presented at 7:30 p.m. Saturday, Feb. 10, at Temple Emanu-El, 14450 W. 10 Mile, Oak 
Park. $15-$30 and free for individuals attending all three earlier free programs. 
(248) 559-2095. info@detroitchamberwinds.

During Temple Emanu-El Mitzvah Day, Yachad students/families, assisted by Artist & Art Educator Marci 
Bykat, create backdrops for the opera to be performed at Temple Emanu-El. The backdrops use symbols of 
oppression (bars and brick walls) that are transformed into symbols of creativity and hope. 

COURTESY TEMPLE EMANU-EL

continued from page 47

ARTS&LIFE
MUSIC

