Artswatch Palestine: October – December 2017

Our regular report on Israel’s war on Palestinian cultural life and expression.

Dareen Tatour: languid oppression

The Israeli state continues its legal harassment of Dareen Tatour (Artswatch 2016 and 2017). Yoav Haifawi reports in +972 (17th December) that more than two years after her arrest in October 2015, the poet’s trial ‘drags on languidly’ in a Nazareth court with no end in sight. On Monday, December 4, the remand judge once again rejected her request to be released from the house arrest imposed on her ‘until the end of legal proceedings.’ Even when she is allowed to leave her house during the day, she must be accompanied at all times by a court-authorized custodian. Under such conditions it is clear, writes Haifawi, that she cannot work or live a normal life.

Solidarity with Tatour is growing. PEN America has made her a ‘featured case’: her trial, in which the state seeks to prove that her work incites terrorism, ‘not only threatens principles of free expression for Palestinian authors, but [is] an attempt by the Israeli government to litigate the meaning of a piece of literature’.

Some of Tatour’s work is collected in A Blade of Grass, an anthology of New Palestinian Poetry in Arabic and English, edited by Naomi Foyle, ‘poems that bear witness both to catastrophe, and to the powerful determination to survive it’. Also represented is the work of Saudi prisoner Ashraf Fayadh, who like Tatour has faced legal penalty as a result of his poetry (see Artswatch June and July 2016).

Regev in Hebron

 On 24th December, Israeli Culture Minister Miri Regev laid the cornerstone of a ‘Founder’s Museum’ in Hebron, the largest city in the West Bank. According to Eliran Aharon in Israeli National News, Regev used the occasion to deny the existence of Palestinian culture and history. ‘The more you dig here,’ she said, ‘the more you find that there is no Palestinian history … and no connection [between the land] and the Palestinian Arab people.’ ‘This land, ‘ Regev explained, has a connection with only one people – the Jewish people – and therefore we will stay here forever.’

Hebron has a population of over 200,000 Palestinians and between 500 and 850 Jewish settlers. In the centre of the city, reports the human rights organisation Btselem, ‘Palestinians are subjected to extreme movement restrictions and hundreds of businesses have been shut down’. Violence by settlers and security forces, ‘has made life intolerable for Palestinians, leading to a mass exodus and the economic ruin of the downtown area. Israeli authorities are promoting ‘the driving out of Palestinians from Hebron’s city centre’.

Erasing Lydda

 In the Nakba of 1948, 49,000 of Lydda’s 50,000 inhabitants were forcibly expelled from the city by Israeli forces. The buildings have remained, until now.

Nir Hasson reports in Ha’aretz (6th November) that renovation/demolition work in Lydda (Lod, al-Ludd) threatens to erase its Arab past. Most of the structures from pre-1948 Lydda were built after 1700, with some being built on the foundations of older buildings. Protestors say the Israeli Antiquities Authority didn’t check each structure to see if this was the case before it was demolished.

In Hasson’s report rapper, political activist and Lod resident Tamer Nafar calls the move ‘another blow to my Arab and Islamic heritage. Lod is made up of all kinds of people, a tapestry of colours. Rather than letting it be composed of all the colours, some of these colours are being erased.’

‘This is part and parcel of the exclusion of Arabs from the public space,’ said another Lod activist Ghassan Munair. ‘We’re in favour of development, but it’s known that Lod is built atop the city underneath. If they would have found the tailbone of a Jewish dog, they would have halted everything,” he added. ‘The city is counting on the people here not protesting because they’re too busy just trying to put food on the table.’

The State against Memory

Zochrot (‘remembering’ in Hebrew) is an Israeli NGO that has worked since 2002 ‘to promote acknowledgement and accountability for the ongoing injustices of the Nakba’. In December, it organised its fifth international film festival, From Nakba to Return, hosted at the Tel Aviv Cinematheque and the Left Bank Cine club. The Middle East Monitor (17th November) reported that Culture Minister Regev ‘has asked Finance Minister Moshe Kahlon to see if the Cinematheque can be fined for its part in the film festival. “While Israel is celebrating 70 years, the [Tel Aviv] Cinematheque State is trying to remember and sanctify the Nakba. Not on my watch,” said Regev.

The outcome of the threat to the Cinematheque is not known.

Olga Gershenson, writing in Tikkun, reviewed one of the festival films, Looted and Hidden, by Israeli curator and art historian Rona Sela. ‘It’s super-dense with images and stories’ writes Gershenson, ‘but basically, it’s about several Palestinian photo and film archives, that were stolen by Israelis in 1948, in 1967, and in 1982, from PLO research centre and from a Cinema Center in Beirut. The good thing is that the audience gets to see tons of these documents–family photos, studio portraits, battle snapshots, pictures of atrocities, etc, along with snippets of narrative films, army reports, news footage, and even an excerpt from a Soviet anti-Zionist documentary. This plenitude is both a blessing and a curse–a curse because in 45 minutes, it’s impossible to contextualize all these still and moving images, tell what’s behind them, AND let them speak on their own terms. It took Rona Sela, a Jewish Israeli with a stubborn mind and legal assistance, over 10 years to even get access to these visual documents. All of them are locked up in the Israeli archives, with absolutely no hope for them to ever be open, especially in the current political climate. What a paradox it is, that it takes an Israeli to recover the hidden visual history of Palestinians–a Palestinian, obviously, would not stand a chance in the tightly censored IDF archives’.

The First Steps to Liberty

 The Palestinian artist Abdul Rahman Katanani has a major exhibition in Paris (December 17-January 18). Katanani was born in 1983 in the refugee camp of Sabra, a few months after the Sabra and Shatila massacres.

The central installation in the exhibition, says the Magda Danysz Gallery, ‘is a scale 1 refugee camp street, an interactive piece entirely made with recycled material. The viewer can enter inside and wander. He is then reflected dozens of times by the mirrors lining the passage, giving the impression of being multiplied and cramped in the structure. A surveillance video [of the viewer’s movements]  is projected in the basement of the gallery, in black and white and in slow motion, a “co-wandering” in the work. In black and white: there are no colors in the camp. In slow motion: the image, ghostly and stretched, evolves to be lost in a forest somewhere in the depths of space.’

Marie-Laure Desjardins has written about the exhibition, and interviewed Katanani. His work, she writes, ‘immerses us in the architecture of his childhood, that of the refugee camp where he was born, in Sabra, Beirut, Lebanon.

– What kind of child were you?

– I was a child who played a lot. I remember lots of games. Shouting. We used to have fun. It’s the first stage on the road to freedom.

– Freedom? What idea can you have of freedom when you are born in a camp? Is that the only thing you thought about? Necessity must have been elsewhere?

– The main thing was to eat, to look after yourself. Our lives were blocked off. There was no possibility of work.

Since his adolescence, Abdul Rahman Katanani has been a committed, an engaged artist. In pencil he draws caricatures and posts them on a wall in the camp. He’s discovered in this resistance a way of expressing his ideas, of existing. To talk of Palestinian refugees in Lebanon is to touch on a difficult subject: it’s almost taboo. But art can speak where silence rules: ‘I was drawing to change things. Always against the occupation, against corruption, against borders.’

Intimate Spaces: Rana Samara

 Naima Morelli, in Middle East Monitor (17th December) writes about the art of the Palestinian artist Rana Samara. Working in Al-Amari Refugee Camp, Samara’s topic is intimacy: love and sex, and also ‘connection, comfort and feeling at home’.

Samara’s ‘Intimate Space’ series, was presented recently by Ramallah’s Zawyeh Gallery, and she has continued to work around that theme.’All the artists are talking about the political struggle in Palestine,’ says Samara.; I’m doing that too, but through a different lens’. Her paintings, videos, installations and embroidery evoke human relations in a society of confinement – in ‘condensed spaces that afford almost no privacy’.


 Bozour Culture and Arts is a theatre group in Gaza, created after the Israeli attack of 2014 and led by three women – Wissam El-Dirawie, Manal Barakat and Ola Salem Deeb. ‘We had collected women’s stories from the war,’ co-director Manal Barakat explained to Rami Almaghari in Electronic Intifada, ‘and we wanted to present them to the outside world.’ Prevented from travelling to perform in Ramallah, on the West Bank, the women decided to create their own company in Gaza. Bozour means ‘seeds’.

Their first production, Gaza will become a Better Place, is a play that depicts Gaza as a place from which young people want – desperately – to leave and are willing to risk drowning at sea to do so.  ‘Ultimately’, writes Almaghari, ‘the play suggests that there is reason to stay.’

Radiance of Resistance

 Samidoun, the Palestinian Prisoner Solidarity Network reports that the 16 year-old Palestinian Ahed Tamimi will be brought before a military court on 15th January, the latest of over 450 Palestinians arrested by Israeli occupation forces following Donald Trump’s declaration of Jerusalem as the capital of Israel. Approximately half of those detained are children.

Ahed’s father, Bassem, has written in Ha’aretz (31st December), about his daughter:

‘Several months ago, on a trip to South Africa, we screened for an audience a video [Radiance of Resistance] documenting the struggle of our village, Nabi Saleh, against Israel’s forced rule. When the lights came back on, Ahed stood up to thank the people for their support. When she noticed that some of the audience members had tears in their eyes, she said to them : “We may be victims of the Israeli regime, but we are just as proud of our choice to fight for our cause, despite the known cost. We knew where this path would lead us, but our identity, as a people and as individuals, is planted in the struggle, and draws its inspiration from there. Beyond the suffering and daily oppression of the prisoners, the wounded and the killed, we also know the tremendous power that comes from belonging to a resistance movement ; the dedication, the love, the small sublime moments that come from the choice to shatter the invisible walls of passivity.

“I don’t want to be perceived as a victim, and I won’t give their actions the power to define who I am and what I’ll be. I choose to decide for myself how you will see me. We don’t want you to support us because of some photogenic tears, but because we chose the struggle and our struggle is just. This is the only way that we’ll be able to stop crying one day.’

 [Photo by Tania Traboulsi: Abdul Rahman Katanani, artist, in his studio]

Artists to Lorde: individual messages of support

On 5 January 2018, more than a hundred international artists signed a letter to the Guardian in the UK in support of New Zealand singer Lorde’s decision to cancel her gig in Tel Aviv later this year.
Since then, some of those signatories have given APUK permission to publish the personal letters they’ve also written to Lorde.   We’re happy to share, amongst others, Brian Eno’s and Roger Waters’ moving expressions of solidarity and support, while Peter Gabriel’s message affirms the need for artists to stand up for human rights.  We’re also reproducing below some of the many messages artists have posted in support of Lorde on social media or via this site.


Brian Eno, musician

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Leading artists stand with Lorde

More than 100 artists including leading lights in film, theatre, literature, and music  have come together to sign a statement of support for the singer, songwriter and record producer Lorde. While signatories to the letter, which is published on the Guardian’s letter page, may hold a range of positions on BDS (Boycott, Divestment and Sanctions), they are united in their defence of the right to freedom of conscience. We are happy to publish the letter and the FULL list of signatories, below.
[Photo: Perou for the Guardian]

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Artists’ statements on Trump and occupied Jerusalem

Today’s edition of The Guardian (December 12) carries a letter signed by one hundred artists, including prominent writers, filmmakers, and musicians, in response to Trump’s ‘recognition’ of Jerusalem as Israel’s capital.   The signatories, who include actors Mark Ruffalo and Tilda Swinton and musician Peter Gabriel, said:

In recognising Jerusalem as Israel’s capital, Donald Trump seeks to achieve through a declaration what Israel has been trying to do for fifty years through force of arms: to erase Palestinians, as a political and cultural presence, from the life of their own city […]

We reject Trump’s collusion with such racist manipulation, and his disregard for international law. We deplore his readiness to crown the Israeli military conquest of East Jerusalem and his indifference to Palestinian rights.

As artists and as citizens, we challenge the ignorance and inhumanity of these policies, and celebrate the resilience of Palestinians living under occupation.

The full list of signatories is published here.

Separately, some of the artists have issued their own individual statements, one of them in verse. We are proud to publish responses by poet Michael Rosen, musicians Peter Gabriel and Robert Wyatt, playwright Caryl Churchill, writers Selma Dabbagh, Hari Kunzru and Ahmed Masoud, producer Kate Parker, filmmaker Ken Loach, and more below.

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Israel’s apartheid regime salutes Nick Cave

Musician and writer Nick Cave declared at a press conference on Sunday that he wanted to ‘make a principled stand’ by crossing the Palestinian boycott picket line, dismissing widespread calls to cancel his group the Bad Seeds’ two concerts in Tel Aviv.  Cave’s words have found him a new fan-base in the form of Israel’s government: there has been an outpouring of public endorsements from its foreign ministry and diplomatic missions across Europe, the U.S., and Australia, as well as from numerous lobby groups.

We have sampled, and reproduced below, tweets from ten Israeli government bodies and spokespeople and seven lobby groups, all of which work hard to counter the Palestinian Boycott, Divestment and Sanctions (BDS) human rights movement and promote Israel’s interests.

Nick Cave declared his love for Israel, and the Israeli regime reciprocated, providing further proof, if any were needed, of the propaganda value to Israel of appearances by international artists.  Cave has gifted Israel’s government a PR coup. Yet Israel’s imposition of decades of military occupation and apartheid against the indigenous Palestinian population is increasingly being challenged by principled solidarity, including from artists. Instead of helping Israel’s regime to whitewash its violations of Palestinian human rights, we invite Cave to support those working for freedom and rights for all. Continue reading

Leading writers respond to Nick Cave

Israel’s officials wasted no time in reciprocating Nick Cave’s declaration of love for Israel, made at his recent press conference there. Today, leading writers have responded to the musician and author’s claims about the Boycott, Divestment and Sanctions (BDS) movement.  These statements, published below, follow responses from artists including Brian Eno and Roger Waters. 

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Artists respond to Nick Cave’s comments

Nick Cave has held a press conference in Israel, in which he explained he ‘decided to play in Israel to stand up to ‘anyone who tries to censor and silence musicians’According to the NME: The musician explained that his change in attitude came about when Brian Eno asked him to a sign a list called Artists For Palestine three years ago. “On a very intuitive level, [I] did not want to sign it,” he said. “There was something that stunk to me about that list.”

“So after a lot of thought and consideration I rang up my people and said, ‘We’re doing an European tour and Israel.’ Because it suddenly became very important to me to make a stand against those people who are trying to shut down musicians, to bully musicians, to censor musicians, and to silence musicians. At the end of the day, there’s maybe two reasons why I’m here. One is that I love Israel and I love Israeli people, and two is to make a principled stand against anyone who tries to censor and silence musicians. ”’ 

Today, in addition to a statement from Artists for Palestine UK, we are publishing a number responses to Cave’s comments from individual artists.

*UPDATE Thurston Moore comment added on 25.11.2017

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Nick Cave, who is being silenced ?

Artists for Palestine UK statement.

Nick Cave has used the opportunity of a press conference in Israel to speak out about ‘silencing’. People around the world will be surprised to read that Cave has chosen not to speak out about the trial of the Palestinian poet Dareen Tatour or the targeting of journalist Makbula Nasser in Israel; nor the indefinite imprisonment without charge or trial of Palestinian artists, journalists and human rights defenders in the occupied West Bank; nor of the denial of permits for Palestinians musicians or of cancer patients seeking to exit Gaza.

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Artswatch Palestine: August-September 2017

Our regular report on Israel’s war on Palestinian cultural life and expression.

The Palestine Museum: in search of connectedness

August saw the opening of the Palestine Museum at Bir Zeit. Its first major exhibition, Jerusalem Lives, aims to speak about Jerusalem to Palestinians throughout the occupied West Bank who are prevented from visiting the city.  The exhibition registers Jerusalem’s diminishing place in the world: ethnic domination and the relentless takeover of Palestinian neighbourhoods, are turning Jerusalem from a global city into one which is losing its connectedness to other places. Nigel Wilson in Al Jazeera quotes curator Reem Fadda on a sound installation by Emily Jacir in the museum’s gardens: she asked the taxi drivers ‘to recreate the emotion that was there when they used to take travellers all across the cities of Palestine, from Lyd to Ramle to Ramallah and across the borders into Arab cities; they used to go to Damascus, Beirut and it was all connected’.

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Open letter to Nick Cave: ‘Don’t go – not while apartheid remains.’

October 30th, 2017, London.

Dear Nick Cave and the Bad Seeds,

You are scheduled to perform in Tel Aviv on 19th & 20th November. Please don’t go.

In the words of a recent UN report, ‘Israel has established an apartheid regime that dominates the Palestinian people’.

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Roger Waters to artists: ‘Why would you ignore your Palestinian brothers and sisters ?’

Asked about the recent decision by artists Nick Cave, Bryan Adams and Thom Yorke to either cross the picket line called for by Palestinian civil society, or announce their intention to do so, Roger Waters has told Artists for Palestine UK:

I wonder if Nick and Bryan [Adams, scheduled to play Tel Aviv December 4 and 5, and Jerusalem December 6] and Thom Yorke and the rest of these guys were to spend even a day or two in administrative detention [without charge or trial], or even once have their kids woken and arrested in the middle of the night, or, or, or……whether they would still ignore the screams of the victims and the desperate pleas for help from Palestinian civil society, whether they would still  cross the picket line.   

And before all the self justification starts, yes, of course other countries have bad records on human rights, not least the USA.   But in the fight for human rights we have to make our stand where and when we can.   In the 60s it was Jim Crow America, in the 80s and 90s it was Apartheid South Africa, now it is Lawless Apartheid Israel.   You stood up for your South African brothers and sisters in the 90s, why would you ignore your Palestinian brothers and sisters in the 2010s?   

You stand at a crossroads; you can either heed the cry, respect your brothers’ and sisters’ picket line and stand with them in their struggle for the basic human rights we all take for granted, or you can turn your backs on them, take the shilling, and entertain their lords and masters at the banquets and balls.  

Chomsky clarifies position on the cultural boycott of Israel

In recent years, people promoting the mantras of ‘constructive engagement’ and ‘bridge-building’ with Israel have cited Professor Noam Chomsky in their defence. He is alleged to oppose the campaign of Boycott, Divestment and Sanctions (BDS) launched by Palestinian civil society in 2005.

Artists for Palestine UK contacted Professor Chomsky to ask him to clarify his position, for the record.

He has given us this statement:

‘I am opposed to any appearance in Israel that is used for nationalistic or other propaganda purposes to cover up its occupation and denial of Palestinian human rights. I’ve been involved in activities to hold Israel accountable for its international law violations since before the BDS movement took shape. While I have some tactical differences with the BDS movement, I strongly support the actions and continue to participate in them.’

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Despite threats Kate Tempest affirms her support for Palestinian rights

Artists for Palestine UK (APUK) strongly condemns threats made against British artist Kate Tempest as a result of her support for Palestinian rights. A poet, spoken word artist and author, Tempest is one of more than 1200 UK-based artists to sign APUK’s pledge to uphold the cultural boycott of Israel. This conscientious decision by so many principled artists stands in stark contrast to the shameful intimidation tactics, including personal threats, directed against Tempest, which led to the cancellation of her concert, scheduled for October 6th 2017 at Berlin’s former airport Tempelhof. Tempest’s management said that she did not want to perform in an “aggressive atmosphere”, having received “personal threats via email and over social media”, adding that they did not want to risk the safety of her team.

Last month eight artists cancelled appearances at Pop-Kultur festival in Berlin, in protest at the festival’s decision to partner with the Israeli embassy in Germany. In response, the festival organisers, media commentators and local politicians condemned these conscientious artists, often in racialised terms, and promoted straight lies about the terms and aims of the Palestinian Boycott, Divestment and Sanctions (BDS) human rights movement. As the festival drew to a close, the purveyors of this defamatory and abusive rhetoric found a new target, with Kate Tempest identified by German media as a signatory to the APUK pledge. One recent article asked, “Can an anti-Israel activist appear in Berlin?”. Another demanded the city’s Mayor Michael Müller cancel the concert. Continue reading

Why is Jewish Community Centre JW3 celebrating Jerusalem mayor Nir Barkat?


From Artists for Palestine UK
Sunday 10 September 2017, London.

Dear Raymond Simonson,

We’re reading the blurb for Jerusalem mayor Nir Barkat’s presentation on Tuesday at JW3, and curious to know if JW3 as an organisation supports the views it expresses.

The blurb says ‘Nir Barkat was 7 years old…when Israel’s capital was finally reunited’.   You will know that the United Nations Security Council, the UN General Assembly, and the International Court of Justice consider that East Jerusalem is Palestinian territory illegally occupied by Israel.   Where does JW3 stand?

The blurb refers to ‘Jerusalem at 50’ (presumably fifty years of Israeli conquest, since Jerusalem has been in existence in some form since the Canaanites), and calls this ‘the fulfilment of a 2000-year-old dream’.

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Artists slam Israel’s planned occupation of London’s Roundhouse

Roger Waters, Ken Loach, Caryl Churchill and Thurston Moore are among many leading artists calling for London’s celebrated Roundhouse to cancel its involvement with a festival designed to promote Israel as a progressive and liberal destination with a ‘glittering’ capital city.

TLV in LDN is supposedly a celebration of culture, but its director Marc Worth has revealed in an interview that the festival is the dream child of Israel’s diplomatic mission in the UK, and was conceived in response to the growing movement for boycott, divestment and sanctions (BDS). BDS seeks to highlight Israel’s systemic violation of Palestinian human, civil and political rights. Continue reading

The naked face of Israel – Ilan Pappé on rebranding Zionism


In 2007, Wonderwoman star Gal Gadot was poster girl for a new Israeli branding campaign.
Credit: Maxim

In 2007 a poster of an almost naked Miss Israel, Gal Gadot, and a poster of four fit young men, equally barely dressed, were the faces of Israel in a campaign named Brand Israel, commissioned by the government and the Jewish Agency for Israel. The young woman (Miss Israel 2004 and a recent star in the Hollywood blockbuster Fast and Furious) was meant to attract the heterosexual young American to a rebranded Jewish State, while the young men became the faces advertising Tel Aviv as the gay capital of Israel. One wonders how Theodore Herzl or even David Ben-Gurion and Menachem Begin would have regarded this presentation of Zionism as a soft-porn wet dream. But policymakers had decided that anything and everything was appropriate in the struggle to fend off Israel’s negative image.

This passage appears in the Epilogue  to “The Idea of Israel” by Israeli historian Ilan Pappé, published in 2014 with the subtitle “A History of Power and Knowledge”.   A “mordantly witty book” (Jewish Quarterly), it shows how Zionism operates outside of the government and military in areas such as Israel’s literature, education system, media and cinema. Pappé reveals how successive generations of intellectuals have framed the 1948 conflict as a liberation campaign, creating a foundation myth that went unchallenged in Israeli society until very recently. Its perpetuation is the goal of a “Brand Israel” campaign which continues to this day.

Prof. Pappé has kindly made his Epilogue, which focuses on Brand Israel, available to supporters of the boycott movement which seeks to unmask and challenge the weaponisation of culture in Israel’s war against Palestinians.

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Open Letter to the Board of Deputies of British Jews

London, 30 August 2017

Dear Gillian Merron,

What are we to make of the UK’s main Jewish organisation calling for the Barbican to remove a video artwork from a science-fiction themed exhibition?

Apparently you had not seen ‘In the Future They Ate from the Finest Porcelain’, the video installation by Palestinian artist Larissa Sansour and Danish author Søren Lind, when you chose to write to the Barbican to demand its removal.

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Award-winning Young Fathers become 8th act to cancel Pop-Kultur

Young Fathers, the Mercury Award-winning group from Edinburgh, have announced their withdrawal from Berlin Pop-Kultur to protest the festival’s acceptance of sponsorship from the Israeli Embassy in Germany.

The band are the third group of UK artists, and the eighth in total, to withdraw from Pop-Kultur in solidarity with Palestinians living under occupation and in exile.

Artists for Palestine UK warmly thanks all fellow artists who act in support of the Palestinians’ urgent need for rights and freedom – despite considerable misinformation put out by the festival organisers and in German media coverage.

Young Fathers, who performed in M.I.A.’s Meltdown Festival at the London Southbank in June 2017, said in their statement:

“Young Fathers have a long history of opposing any form of hatred including racism and anti-semitism and we support the principle of a peaceful solution that allows Palestinians the right to return to a safe homeland and that allows Israelis and Palestinians of all faiths (and none) to live together in peace. This is a very tiny act on our behalf in the grand scale of things but one we still believe is worth it.”

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Cancellation of my participation at POP-KULTUR Festival

Annie Goh is is the 6th artist to withdraw from Berlin’s Pop-Kutur over sponsorship by Israel. She issued the following statement via Facebook today, which we reproduce below. Aside from making clear the reasons for her cancellation, she criticises the misinformation put out by Pop-Kultur’s organisers regarding BDS,  and describes as ‘despicable’ smears against the four Arab artists who withdrew from the festival (their principled statements are reproduced in part on our blog here).

Like Goh, we at Artists for Palestine UK have been particularly appalled at the attacks on the Arab artists whose statements to the festival could not have been clearer or more humane in articulating the reason and the object of their protest.

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Artswatch Palestine: June-July 2017

Our regular report on Israel’s war on Palestinian cultural life and expression.
[Pictured: Palestinian-American rapper and video-maker, Abu Rahss]


In May 2015, the United Nations Security Council adopted Resolution 2222, on the protection of journalists in conflict situations. The resolution ‘condemned all violations and abuses committed against journalists, media professionals and associated personnel in situations of armed conflict’.

During the debate on the resolution, Israel’s delegate, David Roet, spoke in praise of his country, ‘a model for how a democratic nation, even while facing immense challenges could maintain a free and thriving press’.

In a statement released on Friday 28th July, the NGO Reporters sans Frontières condemned Israeli forces for using ‘intimidation, denial of access, violence and arrests to limit or prevent media coverage of the demonstrations and clashes sparked by the introduction of additional security measures around the Al-Aqsa Mosque in the Old City of Jerusalem’

In a statement released on 31st July, the New York-based Committee to Protect Journalists condemned a pre-dawn raid by Israeli forces on the headquarters of the media production company Palmedia. They ransacked Palmedia’s offices, and destroyed equipment.

In a statement released on 6th August, the Committee to Protect Journalists condemned Israel’s decision, announced by Communications Minister Ayoob Kara, to close Al-Jazeera’s offices in Israel, revoke the credentials of its journalists and censor its transmissions.

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