A Peoplehood | Amiut Yehudi<\/a>, was released June 2026. Salsky now joins Phoebe Maltz Bovy on The Jewish Angle to discuss why the work and her sensitive editorial decisions, including why she left interview subjects anonymous, how photographs of ordinary Jewish life sit alongside images of security and hostility, and how creatives can make Jewish art about anything other than antisemitism in a post-Oct. 7 world.<\/p>\nTranscript<\/p>\n
Phoebe Maltz Bovy: Hi, this is Phoebe Maltz Bovy, and you\u2019re listening to The Jewish Angle, a podcast from The Canadian Jewish News. Shortly after Oct. 7, a sign went up on my block in Toronto. It was one of those paraglider flyers whose meaning was immediately apparent, at least to me. This place that I walked by every day with my own young Jewish children had up on it a reminder that someone, for all I knew, a neighbour, was glorifying the then-quite-recent Hamas attacks.<\/p>\n
Soon after, signs along these lines, as well as counter signage, as well as more ambiguous signage, really started to dominate my experience of public space like had never happened before. I\u2019d never experienced the likes. I became keenly aware of which local shops and homes wanted to free Palestine, which ones really wanted to free Palestine, and which outliers were putting up signs about the hostages or even Israeli flags. I found myself wondering what everyone who put up Free Palestine meant by this, whether they meant versions of it that I could get behind, namely peace, or ones that meant eliminating Israel.<\/p>\n
The signs were just ubiquitous, people did not seem as bothered about anything else, local or otherwise, and it was just this sort of all-consuming experience of moving through space that I found very hard to articulate. So I would take the occasional photo of these items, generally for The CJN to accompany my column, or just to text to friends and family because it was interesting, but I am not a professional photographer. And by the time it occurred to me that somebody should really be documenting this properly, it was probably sort of winding down. So I was stunned and thrilled to see that this exists in book form.<\/p>\n
It\u2019s a book called A Peoplehood | Amiut Yehudit. It is by the photographer Marnie Salsky. I met her by happenstance at the indigo on Bay and Bloor, and I am so pleased to have her on The Jewish Angle. Welcome, Marnie.<\/p>\n
Marnie Salsky: Thank you. And thank you for having me, Phoebe. I\u2019m really happy to be here.<\/p>\n
Phoebe Maltz Bovy: So we\u2019re mainly gonna talk about your book, of course, but I just wanted to ask about your own background, be it your Canadian background, Jewish background, professional background, however you choose to answer the question is all good.<\/p>\n
Marnie Salsky: Sure. So I am a second generation Canadian. And my Jewish background is that I would consider myself right now a secular cultural Jew and I would consider\u2014I don\u2019t know why I said right now because I\u2019ve always been that way. I grew up in a very mixed neighbourhood and by that I mean it was mixed in cultural and religious backgrounds, had a fairly significant Jewish community, maybe 40, 50 percent, but also it was very diverse in socioeconomic status, it was very diverse in family makeup, and it was you know, looking back now, it was the \u201970s, the \u201980s, it was a very idyllic time, and I often describe it.<\/p>\n
Phoebe Maltz Bovy: Sorry, do you mind if I just interrupt to ask where was this neighbourhood? What, in Toronto or somewhere else? Okay.<\/p>\n
Marnie Salsky: In Toronto, yeah. In Toronto. And what I what I mean by it was idyllic, I mean we all reflect upon our childhood, maybe not all of us, but you know, often we reflect upon it as an idyllic time. But what really stands out is that people stood up for things that were wrong, and didn\u2019t stay within their quote-unquote party lines.<\/p>\n
So, you know, kids stood up for each other and protected each other, and if something was wrong, they either beat up a person or said it like it didn\u2019t just stay, you know, within a minority\u2019s community issue. It was everybody\u2019s issue. My professional background is I\u2019m a photographer and a documentary media maker. And this is a long-form, long-term project that I started about 15 years ago.<\/p>\n
Phoebe Maltz Bovy: So I was gonna ask about how you decided to do the project because reading it now and looking at it now, because it\u2019s a mix of text and images, it\u2019s very much a part of a post-Oct. 7 wave, boom, whatever of Jewish artistic and cultural production, right? It seems in some ways a reaction to Oct. 7, but it\u2019s not a reaction. Yeah.<\/p>\n
Marnie Salsky: No, it\u2019s not whatsoever. So the primary source material in the book is from 2018 to 2022. And then there\u2019s post-Oct. 7 material that\u2019s woven in. So to take it back a few steps, I originally was inspired to create this documentary project when I was restoring about 15 years ago, a series of historical photos from the 1890s to the 1930s of a small Jewish shtetl in Poland.<\/p>\n
And what struck me at the time was just how diverse the community was. And this was far enough back that you know, AI and Photoshop tools weren\u2019t as developed as they are now that you could just click a button and restore an old photo. So you know, speck by speck, I was taking out the dust marks and restoring the cracks. And so I really spent a lot of time on these photos and with the people that were in it.<\/p>\n
And I was struck by just how diverse the community was. So different levels of religious observation, different socioeconomic statuses, rural community, urban community. And it made me start to think about the parallels of Toronto\u2019s Jewish community, which is much larger than that town. That was a town of 5,000 Jews.<\/p>\n
But I wanted to go more than just document the community that was here. I wanted to look at what the impact of antisemitism was on one\u2019s identity. And the as we all know, this huge torrent of antisemitism that\u2019s been unleashed since Oct. 7, it\u2019s not new.<\/p>\n
Phoebe Maltz Bovy: Was there ever any possibility that it would have come out before Oct. 7, or was it that Oct. 7 kind of like was there a version of this that would have been before?<\/p>\n
Marnie Salsky: So there is a version of before, but it\u2019s not in book form. So it in 2021, it was a multimedia gallery installation work. And the main part of the gallery installation was this two-channel nonlinear film. And that film went on to have a life in the Film Festival Circuit.<\/p>\n
So mainly small festivals, but it was featured at the Toronto Jewish Film Festival in 2023. In June, that would have been 2023. So then I was working on translating the material into book form, which was something I had always anticipated the project to be. And at one point it was that in a very simple form and I was revisiting going back to that idea.<\/p>\n
And I was in the midst of working on that when Oct. 7 happened.<\/p>\n
Phoebe Maltz Bovy: And what was your response at that moment?<\/p>\n
Marnie Salsky: Creatively or humanly?<\/p>\n
Phoebe Maltz Bovy: Yeah, creatively. I mean emotionally I think, you know, I mean it yes, but<\/p>\n
Marnie Salsky: Creatively, it really you know, it made me pause and really look at what was this material that I had that I had been so immersed in and had developed into various artistic forms. And what it did is it made me realize that the material from 2018 to 2022 really captured a community on a precipice. So they were aware, you know, that things were not as they were 25 years ago. But unaware of, you know, as any of us would be, that there was this horrific attack on Oct. 7 and that it would unleash so much hatred towards Jews throughout the world.<\/p>\n
So I really look at it as a moment in time. Like it\u2019s right at the cusp before everything really went so horrific for Jews. I do incorporate post-Oct. 7 material into the book. In the book it\u2019s not delineated which images are pre and post because it actually doesn\u2019t matter.<\/p>\n
Phoebe Maltz Bovy: Yeah, I thought that was so interesting. And I wanted to ask you about that part of your book, that aspect of your book in general. So the passages, quotations from different people, they\u2019re not attributed. They\u2019re just it\u2019s sort of poetically put on the page.<\/p>\n
I\u2019m not good at describing this, but it\u2019s like I\u2019m trying to think of how to describe it in a way where I don\u2019t seem completely like the\u2014like it\u2019s a different margin, so it\u2019s clear who that it\u2019s different speakers, but it\u2019s not in quotation marks. There\u2019s no \u201csaid so-and-so on such-and-such date.\u201d Some of them from the context of the book appear to come from longer interviews because they\u2014that you print at the end of the book. Do all of them come from those longer interviews or are these from additional people as well?<\/p>\n
Marnie Salsky: They\u2019re from additional people. So I probably interviewed around 18 different people. And they in the film, their voices are the soundscape of the film. So they\u2019re overlapping at times, at times saying something similar, and then at times something that goes against what other people are saying, kind of rises up and then subsides.<\/p>\n
And it depends on ages, background, you know, various forms of identity of why differing things are said. So when I was translating it into book form, I played around with a lot of different ideas. Like, do I want to say this person is 19 years old and male and identifies as a conservative Jew? Like I played around a lot of\u2014what\u2019s the best way?<\/p>\n
And in the end, I decided to take out any of those descriptors because I wanted it to be just you know, the person kind of fills in the blanks. It doesn\u2019t really matter how the speaker identifies. What matters more is the words that be that are being used by them. In the end, where you\u2019re talking about the extended transcripts, so I have three speakers that I had interviewed in 2020.<\/p>\n
And then I went back and interviewed them again in a few months after Oct. 7. So maybe six to eight months afterwards. And the reason why I chose just three is because it is more a photobook, a visual book, as opposed to a heavily text book. And so I felt that those three interviews showed that there is a cross section of various feelings and expressions of identity.<\/p>\n
Phoebe Maltz Bovy: I mean, it\u2019s interesting, right? Because it\u2019s it\u2019s all it the anonymity really comes through even on the cover, right? So it\u2019s<\/p>\n
Marnie Salsky: He<\/p>\n
Phoebe Maltz Bovy: It\u2019s the image of seemingly a woman\u2019s face, but you couldn\u2019t tell who she is, apart from a Star of David necklace indicating a certain Jewishness about her, perhaps, but or solidarity. One never knows. But yeah, so what are you aiming to sort of convey artistically with the lack of specificity. Is it sort of the mood of a moment or just the\u2014something?<\/p>\n
Marnie Salsky: It was the interviews, the people that were interviewed are not photographed at all. So when I interviewed them, they were completely anonymous. They knew they weren\u2019t gonna be photographed, they knew that they weren\u2019t gonna be videoed, and because of that, they were extremely candid in what they chose to share with me. And some of them were these interviews The 2020 ones took place during COVID, so that in itself was an interesting time.<\/p>\n
And they took place outside and because of the restrictions. Most of them were people that were complete strangers to me. I had done a broad call for people to participate. And then when I was focusing on the cover image of what was going to be on the cover, I really wanted to keep that sense of anonymity.<\/p>\n
And that\u2019s why it\u2019s not a person\u2019s face. But it was\u2014sorry\u2014their full face. But it was important to me that it be an image of a human because it is a human story. And because it\u2019s a profile picture, it looks as if she\u2019s about to talk or is maybe listening to a conversation, the lips are very prominent.<\/p>\n
So all of those were really intentional decisions about the book is a conversation and The image on the cover is also, there\u2019s a little bit of tension in it. Like the lips are cropped a bit higher than perhaps what would be comfortable when you look at a profile picture. And again, that tension is just an allusion to what you\u2019re going to be coming to in the books. And then the typeface of all the different types of ways people identify as being Jewish kind of take you through the cover and then you end up on the Jewish star.<\/p>\n
Phoebe Maltz Bovy: Mm-hmm. I mean, I think it\u2019s interesting and it it works really well, I think, because<\/p>\n
Marnie Salsky: Thank you.<\/p>\n
Phoebe Maltz Bovy: I mean, my own sort of where I come from professionally, I\u2019m it\u2019s always about like who said what, when, in all of this in journalism, academia before that, like I\u2019m constantly like there\u2019s just these walls of text. And I think here in this paring that down, you really get the message more clearly and it makes the photos kind of jump out more\u2014photos and also. So there\u2019s a lot in your book. There are images of newspaper articles past and present.<\/p>\n
There\u2019s visual evidence of Canadian antisemitism of yore. So it shows, you know, that this isn\u2019t just an entirely new thing. But there are certain photos I think that really capture this moment. And there was one that to me really did, and I\u2019ll say which it was, and I was wondering then\u2014I\u2019ll ask if there was one that for you like most captures kind of the moment we\u2019re in.<\/p>\n
And for me it was the police gathered around in front of Beth Tzedec. It just\u2014the idea to me that jumped out the most because it\u2019s both this entirely ordinary thing of there being a congregation, you know, but then it\u2019s like the idea of having to be so protected, having this apparatus. You know, and also so soon after the sort of defund the police moment to be this community so associated with police protection. It\u2019s just so awkward among other things and painful and it you know, it\u2019s just and so unsettling in all these different ways.<\/p>\n
And that really stood out to me, just the sheer number of police gathered, just ugh, I don\u2019t know, like that really did. But I was wondering if for you there\u2019s any specific image.<\/p>\n
Marnie Salsky: You know, it\u2019s funny that you say that one because I was\u2014that would be for me the same image that really I think captures this moment that we\u2019re in and the moment that we were shortly in before Oct. 7. But I also the reason why I particularly am drawn to that image is not just the police, but the signage that\u2019s on the shul itself. So it talks about like it has big you know almost billboard-size posters of join our congregation and in those posters is you know different ages different skin colours different family makeup so it\u2014just everything about like the building those posters on it about, you know, be part of this community, not just the Jewish community, but this synagogue\u2019s community. This is who we welcome, then the amount of police.<\/p>\n
And that image is from one week after Oct. 7. So it you know now we\u2019re kind of a bit more used to huge masses of police in front of Jewish spaces at different times. Or in front of certain Jewish events, but that was the first time that I saw such a mass of police presence, and that it was just one week after Oct. 7.<\/p>\n
Phoebe Maltz Bovy: So something I wanted to ask was just sort of balance, because something that you definitely both are going for at and I think succeed at is having Jews of a great range of different backgrounds, political ideologies, and so forth. But another form of balance is it\u2019s not just about antisemitism. So how did you decide to include and how much to include of just sort of ordinary or even joyful aspects of Toronto Jewish life.<\/p>\n
Marnie Salsky: And I\u2019m really glad that you brought that up because usually it\u2019s me that says that and I completely forgot to. So, yes, this is not a book or project just about antisemitism by any means whatsoever. I start off the book with, you know, more positive, uplifting themes, then it delves into darker issues. And then it\u2019s important for me to always end with imagery that rises back up.<\/p>\n
Because the truth is we\u2019re living through this time and we\u2019re experiencing life and it\u2019s important to you know, not just focus on the antisemitism and the hatred, but also to focus on all the joys of life and all the things that our families and individuals are continuing to go through in a positive way.<\/p>\n
Phoebe Maltz Bovy: Yeah, I think that\u2019s I think that\u2019s important, positive and even just neutral, like or just unrelated to antisemitism, you know what I mean? Because I think this is something that it\u2019s true really across a whole bunch of different fields. There\u2019s discussion in academia about Jewish studies versus antisemitism studies. There\u2019s discussion in journalism, you know, like how much antisemitism should Jewish media outlets cover versus, you know, anything that is not that.<\/p>\n
You know, so this is a really big topic at the moment. And I think it\u2019s I appreciate that it\u2019s not just about antisemitism because that is not the only thing that\u2019s going on, obviously, for Jews at this point in time, I wanted to though talk about kind of where things are at nowadays in terms of like visual signifiers and so forth because where I live, there\u2019s still somebody putting giant free Palestine in chalk. Sometimes somebody puts sprays and obscenity against this in the same location. It\u2019s all sort of a bit ongoing but seems to be petering out.<\/p>\n
But it is also kind of like surprisingly persistent. I don\u2019t know what what do you see?<\/p>\n
Marnie Salsky: Yeah, it is surprisingly persistent, but I think it\u2019s I think perhaps what felt at one point a huge outpouring of people or society doing it now feels much less so. And I think that I think that the saddest part is is just that there\u2019s not people outside the community you know, expressing outrage at some of the stuff that\u2019s put on our streets.<\/p>\n
Phoebe Maltz Bovy: I mean, I think what I\u2019ve found the most challenging myself is the ambiguity, right? Like a flyer that\u2019s showing a paraglider appearing on like Oct. 9 or whatever. Okay, that\u2019s pretty clear-cut. That\u2019s pro-Hamas.<\/p>\n
There\u2019s no question. Somebody putting free Palestine could mean anything. You know what I mean? It depends Where it\u2019s located, it depends the context.<\/p>\n
And then also, yeah.<\/p>\n
Marnie Salsky: I think it depends most on the person who wrote it. You don\u2019t know, right?<\/p>\n
Phoebe Maltz Bovy: But you don\u2019t know, right? So one thing that I remember talking about it, I think, on this podcast at one point was I think it was 2024. I\u2019d gone away with my family for a couple weeks. We came back to Toronto, and every single shop on the main street where I live, with maybe like a couple exceptions, like the occasional like hardware store something didn\u2019t have it, had Parkdale High Park for a free Palestine.<\/p>\n
And I thought, okay, like the volume of this was just interesting. Even if some of the people are just like, somebody handed them a sign and they put it out, they\u2019re not even thinking about it. Even if some of them think there should be peace, which I also think there should be, it just felt a little bit like, why is it all about one thing? You know, like there was just something about it that but yeah, the ambiguity, because I feel like that\u2019s part of what makes solidarity challenging, is you get people saying, well, I think there should be peace in the Middle East.<\/p>\n
Why am I complaining, it\u2019s like, well it depends what you\u2019re seeing and in what context And yeah.<\/p>\n
Marnie Salsky: I mean, I think there should be peace as well. Who wouldn\u2019t want peace in the Middle East, right? Like I think I don\u2019t think it\u2019s that complicated and sometimes I think it\u2019s like you could people could hold, you know, multiple truths at the same time. Like you could want a free Palestine in my meaning when I would use that phrase, it would mean: free from Hamas, free to have a democratic government, free to, you know, live peacefully and be peaceful to the countries that are neighbouring them.<\/p>\n
To me, that would be a free Palestine. As well, Israel should be able to live in borders that they\u2019re able to defend, not be attacked, and you know, Jews should not be slaughtered. And all these things could all be true at the same time. So it\u2019s just interesting that it\u2019s you know, a singular message, whereas I find Jews are able to articulate the multiple truths of how some Jews of how they wish they would see things, and we don\u2019t hear that as much from other people.<\/p>\n
Phoebe Maltz Bovy: well, I think sometimes something becomes the topic of the moment and people who haven\u2019t necessarily been thinking about it always start to. So I wanted to ask, who is your book\u2019s intended audience?<\/p>\n
Marnie Salsky: So I would say the intended audience is actually threefold. So I think the most obvious is people that are Jewish and in the Jewish community. And what I\u2019ve had people say to me in when it was a film and when it was in the gallery and within the book is that, you know, I see myself in these pages or I see myself in this film, even though I don\u2019t say these things or agree with everything in it. I see myself and I see my community.<\/p>\n
So that\u2019s one audience. I think another audience would be you know, people of Toronto, because there\u2019s so much of the cityscape that\u2019s in the photos, you\u2019re able to kind of identify places that feel a little bit familiar if you live in Toronto, as well as some of the images, especially of the storefronts that I have on Bathurst. To me, they remind me of my bubbe\u2019s neighbourhood\u2014who lived in Montreal. So in C\u00f4te-Saint-Luc, when I go and visit, it\u2019s the same, you know, just the same feel to it.<\/p>\n
Phoebe Maltz Bovy: So you and I are both authors in Toronto, with new books at the same time, more or less, at a very weird moment in book publishing for Jewish authors. So I wanted to ask what your experience has been getting a project like this specifically, but also just as a Jewish author, visibly Jewish author. I don\u2019t mean like phrenology, I mean like it is a Jewish topic, right? It is called A Peoplehood | Amiut Yehudit.<\/p>\n
Marnie Salsky: Right. Exactly.<\/p>\n
Phoebe Maltz Bovy: My own book is not on Jewish topics particularly, but I work for The Canadian Jewish News and that\u2019s it\u2019s in the name, you know what I mean? And I host The Jewish Angle, right? So I was just wondering like what your experience has been as a Jewish author at this point in time.<\/p>\n
Marnie Salsky: It hasn\u2019t been great, and I\u2019ll widen the lens a little bit more of not just for being a Jewish author, but just being Jewish in the art space. So I originally had the idea for this project back in let\u2019s say 2010, 2012. I went back and did my MFA at what was then called Ryerson, now Toronto Met U. And in my MFA program, which is really for visual professionals. So it was an MFA in documentary media.<\/p>\n
You have a body of work that you apply with, you have a project that you\u2019re working on and workshopping and all of that for the two years that you\u2019re there. You have to professionally show it at the end. So I was the only Jewish person in my cohort. And the level of I\u2019m not gonna say indirect antisemitism, but I am gonna say indirect antisemitism because I don\u2019t really have the word for it, was you know, surprising.<\/p>\n
And also, as you said, my subject, it\u2019s about Jewishness, right? So, you know, that\u2019s what I\u2019m talking about. That\u2019s what I\u2019m workshopping. And some of the comments that would come back from people, I would be like, you know, you just how are you not getting it?<\/p>\n
And how are you a fully formed adult and you\u2019re still not getting it? And gallery spaces are not very open to this type of subject matter even before Oct. 7. So I\u2019ve heard other Jewish artists describe it as like a spidey sense, like it\u2019s a spidey sense. So it\u2019s not that they come out and say, we\u2019re not gonna host it because either you\u2019re Jewish or the subject matter is Jewish.<\/p>\n
But there\u2019s the work has enough pedigree behind it now that it some of the places where it should have been accepted have not been accepted.<\/p>\n
Phoebe Maltz Bovy: The creative world is full of rejection. It\u2019s full of hearing no for no particular reason. So, you know. Anytime something disappointing happens, one can always which is going to happen to everybody regardless.<\/p>\n
Marnie Salsky: Which happens lots of times. Yeah. Yeah. Yeah.<\/p>\n
Phoebe Maltz Bovy: And you know, ha like I guess I\u2019m just wondering how you can ever sort this out, you know?<\/p>\n
Marnie Salsky: I don\u2019t think you can like 100 percent, right?<\/p>\n
Phoebe Maltz Bovy: Like does anybody ever say anything direct, like about I don\u2019t know. Like for for example, like do people assume that<\/p>\n
Marnie Salsky: Okay, yeah.<\/p>\n
Phoebe Maltz Bovy: You\u2019re trying to make a particular point about the Middle East, which I don\u2019t think your book particularly is, but yeah.<\/p>\n
Marnie Salsky: No, it\u2019s not at all. There are people okay, so when it came to the publishing world, so I was as I mentioned, I was working on translating it into a book form. I had I needed to work with a or I strongly desired to work with a photobook designer as well, because there\u2019s a whole language that goes into making an engaging artistic book and especially because I had so much text that I wanted to weave in and as you said have it poetic so the way it\u2019s placed on the page and all of that. So I worked with a gentleman, Caleb Cain Marcus, who\u2019s quite a renowned photobook designer, and I was very fortunate to work with him.<\/p>\n
When it came time to look for a publisher, I had said to Caleb that, you know, of course I\u2019m gonna be approaching publishers and letting them know that we collaborated together because he\u2019s a name, I\u2019m not a name, right? And he told me, and he also pitched it to publishers that he\u2019s worked with and that he knows. He had said he had never had so much difficulty getting one of his projects that he had worked with an artist on to a publisher, and also. When we would talk about things, he would say there\u2019s some publishers they won\u2019t touch it at all because they will not work with anything Jewish.<\/p>\n
They won\u2019t even use ink for a Hewlett-Packard printer because part of it is made in Israel, right? So there\u2019s those people, then there\u2019s publishers that won\u2019t touch it because they don\u2019t want to alienate who supports their books. So from a business perspective, they won\u2019t touch it. And then in the end, I found a wonderful publisher who was on my top list and who has wholeheartedly supported the work.<\/p>\n
Phoebe Maltz Bovy: What are you working on next and where can people find you? Those are the wrap-up sorts of questions.<\/p>\n
Marnie Salsky: Right. Well, right now I am just working on taking care of my new puppy. So I do not have an artistic project at the moment. And\u2014<\/p>\n
Phoebe Maltz Bovy: I hope you are taking a lot of pictures of your new puppy.<\/p>\n
Marnie Salsky: I\u2019m taking lots of pictures of her. And I\u2019m taking a well-deserved bit of a creative break because this project\u2019s been a lot of years and it\u2019s also been a hard subject matter. So a lot of things I\u2019ve had to keep at a distance because I just was wanting to accomplish the creative vision that I was striving out for. So I think I\u2019m going to take a little bit of time just to kind of process what these last few years have really meant.<\/p>\n
And you can find the book at Indigo Amazon wherever you buy books online and also on my website for more information which is www.salskyphoto.com.<\/p>\n
Phoebe Maltz Bovy: Thanks so much, Marnie. This was great. And thanks for your great book.<\/p>\n
Show Notes<\/p>\n
Credits<\/p>\n
Host: Phoebe Maltz BovyProducer and editor: Michael FraimanMusic: \u201d Gypsy Waltz<\/a> \u201d by Frank Freeman, licensed from the Independent Music Licensing Collective<\/p>\nSupport our show<\/p>\n","protected":false},"excerpt":{"rendered":"Between 2018 and 2022, Marnie Salsky travelled around Toronto, taking photographs of her Jewish community. The project was…\n","protected":false},"author":2,"featured_media":163382,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7],"tags":[13213,29712,24857,48],"class_list":["post-163381","post","type-post","status-publish","format-standard","has-post-thumbnail","category-toronto","tag-documentary","tag-oct-7","tag-photography","tag-toronto"],"_links":{"self":[{"href":"https:\/\/www.europesays.com\/canada\/wp-json\/wp\/v2\/posts\/163381","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/canada\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/canada\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/canada\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/canada\/wp-json\/wp\/v2\/comments?post=163381"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/canada\/wp-json\/wp\/v2\/posts\/163381\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/canada\/wp-json\/wp\/v2\/media\/163382"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/canada\/wp-json\/wp\/v2\/media?parent=163381"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/canada\/wp-json\/wp\/v2\/categories?post=163381"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/canada\/wp-json\/wp\/v2\/tags?post=163381"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}