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January 25, 2024 - Image 43

Resource type:
Text
Publication:
The Detroit Jewish News, 2024-01-25

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48 | JANUARY 25 • 2024 J
N

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

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