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

HOW ISRAEL MAINTAINS A FREE AND THRIVING PRESS

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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Regev Watch

Miri Regev, Israel’s Minister of Culture and Sport, has commented , 27th December, on the change of presidency in the United States:   ‘Obama is history,’ said Regev. ‘We have Trump.’

Christian Viveros-Fauné, writing in Artnet, suggests that ‘like Trump, the Likud politician consistently engages in a brazen, counter-factual brand of right-wing populism’.  Viveros-Fauné charts the growing scope of Regev’s ‘war against culture’ noting inter alia that:

‘At least one major institution, the Tel Aviv Museum of Art, has already found itself in the crossfire. As reported in February 2016 by Shany Littman at Haaretz, its director and chief curator Suzanne Landau recently “called off an exhibit by Chinese dissident Ai Weiwei and Israeli photographer Miki Kratsman because of political pressures.” Kratsman’s contribution to the show, which was scheduled to open in November 2016, consisted of a Harvard University-funded series of 3,000 portraits of Palestinians he met on his travels to the Occupied Territories. Many of the photographer’s portrait subjects have since been killed in clashes with Israeli Defense Forces. When [the reporter] reached Landau for comment, the curator cited “scheduling problems.”’

Habima and Ashtar: tales from two theatres Continue reading →

The dangers of satire

A blog by ‘John Brown’ in +972 magazine (27thNovember) reports on recent experiences of the Bedouin blogger Anas Abudaabes.

The wild fires that swept through Northern Israel in mid-November provoked some Facebook posters in neighbouring countries into words of celebration. Abudaabes responded satirically, writing that the way to earn the respect of posters like these would obviously be to light more fires.

In paranoid and authoritarian states, satire is often a weapon that endangers the satirist. Israel’s legal system chose to take the words of Abudaabes literally, as an incitement to arson. On 25th November, Judge Alon Gabison ruled that there was reasonable suspicion that the post included incitement to harming state security, and that the author of the post should have thought about how others would interpret his words.  A judge in a higher court speedily confirmed this ruling. Abudaabes, freed on bail, was placed under house arrest for five days and not allowed to use Facebook for 15 days.

The episode suggests that in addition to the multitude of other restrictions it imposes  on the right of Palestinians to free expression, the Israeli state has now moved on to proscribing certain kinds of literary genre.  If you are a Palestinian, do not be a satirist.

The continuing ordeal of Dareen Tatour

In June and July, Artswatch reported on the situation of Dareen Tatour, jailed and then placed under house arrest for poems and other writing that she posted on Facebook.  In November, PEN International took up Dareen’s case, featuring her as one of the ‘Imprisoned Writers’, whose freedom it is demanding. On 24th November, Samidoun, the Palestinian Prisoner Solidarity Network, reported that the court that is hearing her case will reconvene on 26th January – and that Dareen’s period of house arrest has been extended accordingly. Dareen faces the possibility of a lengthy prison sentence, as Israel continues to escalate its war against a militant Palestinian presence on social media.

Fighting back against Facebook

 Charlotte Silver reports on Electronic Intifada (16th November) that Palestinian groups have joined with black and civil rights activists in the US to protest against the increasing tendency of Facebook  – documented in September Artswatch – to block material at the behest of states. ‘Facebook’, a spokeswoman for the Oakland-based Center for Media Justice told the Guardian, is ‘a platform where people are documenting human rights injustices and breaking news’, yet for both black activists and Palestinians, it is a platform which is getting narrower by the month.

Confirming the CMJ’s claim, Samidoun, the Palestinian Prisoner Solidarity Network, reports that Facebook has granted 95 percent of Israel’s 158 requests to remove content in the last four months. Alongside this persistent pressure on internet companies, Israel continues to persecute individuals. Palestinian journalist Khalid Maaliimprisoned on the basis of his social media posts, was released by court order in mid-November – but only on the condition that he turn over his laptop to Israeli occupation forces and close his Facebook account, as well as paying a fine of $1700.

Miri Regev and the absolute politicisation of culture

Writing on AlJazeera’s website, Jonathan Cook (10th November) catalogues the long list of interventions made by Israel’s far-right culture minister, Miri Regev, since she took office 18 months ago.  Aiming to ‘silence the Palestinian narrative’ Regev has been swift to denounce the broadcasting and performance of poems about the Palestinian experience. At the same time, she is completely explicit that Israeli cultural institutions should see themselves as arms of the Israeli state, supporting its policies: theatre companies which refuse to perform in the occupied territories will find themselves under-funded (see Artswatch October).

Cook notes that Regev’s efforts are increasingly successful: ‘people are starting to self-censor’, says the Palestinian rapper Tamer Nafar, ‘the worst kind of censorship’.  Yet, Cook concludes, there may be one positive side to Regev’s activities: for decades, those who have wanted to protect Israel from cultural boycott have argued that ‘culture’ exists in a different realm to ‘politics’, and that the border between them should not be crossed.  Tenuous at the best of times, under Regev this claim has lost all credibility: in a society where culture has become just another channel for the politics of occupation, the case for boycott is strengthened.

The occupying power bans the call to prayer

 Cultural repression is not limited to theatre and poetry.  Middle East Monitor reports that the Israeli government is supporting the passage through parliament of a bill that will criminalise the use in occupied East Jerusalem of the loudspeakers that call Palestinian Muslims to prayer.  The proposed ban is another step in the removal of the cultural presence of Palestinians from the occupied city: just as homes are demolished, so the material signs of Palestinian culture are effaced.  Commenting on the move, Arab-Israeli MP Haneen Zoabi said that the proposed law was an attempt to change the culture and life in the occupied city. “This is part of the culture of the Arabic city and has been there since before the Israeli occupation,” she said. “For those, who are not happy with it, they have to go back home to Europe.”

Ashraf Fayadh – his poems translated

 The Palestinian poet Ashraf Fayadh, convicted of heresy, remains a prisoner in a Saudi jail (see Artswatch June and Artswatch July). The US publication Publishers Weekly, reports that English-speaking readers can now read his poems in a new collection, ‘Instructions Within’, produced by the independent publishing house, The Operating System.

Mohammed Bakri, actor – sign the petition

 In August, Artswatch reported on the continuing persecution of actor and film-maker Mohammed Bakri, director of ‘Jenin, Jenin’.  The Avaaz petition in support of Mohammed can be signed here.

‘The National Puppet Theatre of Israel’

Habima, Israel’s National Theatre, has announced that in mid-November it will put on a show in Kiryat Arba. Kiryat Arba is a settlement in territory illegally occupied by Israel, and a place which, in the words of an editorial in Ha’aretz (26th October), ‘has become a symbol of the injustices of the occupation and the settlements’.

Habima has performed in the occupied territories before – notably in Ariel in 2012. Then, the theatre’s co-director, Odelia Friedman, stated ‘Habima will perform for all residents of Israel. Residents of Ariel are residents of Israel and Habima will stage shows for them.’ Habima has now reaffirmed its support for occupation, again in the language of national inclusion.   According to Ha’aretz, it ‘rejects with repugnance any call to exclude citizens and to exclude communities, and condemns any attempt at a cultural boycott in any place where Israeli citizens live’. Supporting the state-funded theatre, Israel’s culture minister, Miri Regev, said: ‘the decision to perform for the first time in Hebron exemplifies the national theatre’s being a central pioneer in treating all citizens of the state as equal in their right to experience culture.’

Ha’aretz describes the decision as ‘a moral stain worthy of condemnation’ and describes Habima as the ‘national puppet theatre of the Israeli state’.

Habima’s latest actions confirm the timeliness of the ‘apology video’ produced by Norwegian artists, directed at the collaboration of Norway’s national theatre with Habima, and calling for European theatres to break their links to the Israeli company. (See Artswatch September).

Palestinian children dance in Sheffield – and are arrested by Israel

 The Sheffield Star (16th October) reports that three 14 year old boys, dancers in the Lajee Dance Troupe, have been arrested in a night raid by the Israeli military. The Lajee Centre is located in the Aida refugee camp, a settlement of 6000 people surrounded on two sides by Israel’s separation wall.

In October last year, an Israeli army sniper killed 13 year-old Abed al-Rahman Obeidallah in the streets of the camp. This year, attacks by the Israeli army on the Lajee Centre have escalated since August, when Celtic football fans raised over £170,000 divided between the Centre and Medical Aid for Palestinians. On 19th September, soldiers attacked the Lajee Centre with teargas and rubber bullets. The following night they forced open the gate of the centre, threw tear gas grenades inside and closed the gate, trapping children inside, forcing them to inhale toxic teargas.

The three boys have been released on bail but will be tried by an Israeli military court.  In April this year 414 children under 18 were held in military detention by Israel; year on year, the number is rising.

The Art of Silencing: Berlin

The Berlin Festival ‘After the Last Sky’ (September-October 2016)  brought together theatre, film, performance, literature, spoken word, dramatic readings, music, and dance, in events  dedicated to the ‘artistic diversity of Palestinian narratives and visions’. In the words of its opening statement, it asked ‘what can we understand about our universal human condition through the example of Palestine and Palestinian narratives?’

Inna Michaeli, blogging for the magazine +972, writes that ‘After The Last Sky’ has been attacked as antisemitic and as an instance of ‘Israel hounding’ by right-wing press commentators – and also by a leader of the German Left Party, Die Linke.  Klaus Lederer, party president in Berlin, quoted in Die Tagesspiegel, 21st October, claims that in referring to ‘apartheid’ and ‘colonialism’, the event has crossed the line between culture and propaganda. The decision of city government institutions to fund the event has been called into question.

Michaeli notes that ‘the very existence of Palestinian identity and culture’ is construed as antisemitic. The politics of Miri Regev have taken root in Berlin.

Even the dead are not safe

Writing in Electronic Intifada, 3rd November, Charlotte Silver reports that the Israeli Antiquities Authority has been outsourcing the management of major archaeological excavations and sites in Jerusalem to Elad, ‘a private organization that settles Jews in the militarily occupied eastern part of the city in violation of international law’. Elad manages the so-called City of David, a settlement containing an archaeological museum catering to tourists.

With the backing of the Israeli government, notes the alternative archaeology group Emek Shaveh, Elad is engaged in a double project: attempting to construct an historical narrative that emphasises the identity of Jerusalem as a Jewish city, while erasing artifacts from other cultures and wrecking the Palestinian heritage.  At the same time, the requirements of archaeological research and recreation, are put forward as a reason for destroying Palestinian homes.

Palestinian rapper performs, is booed on stage following Regev ‘terror’ accusations.

Rapper Tamer Nafar, a Palestinian citizen of Israel, performed at the Haifa Community Theatre Festival in October – despite calls from Israel’s Culture Minister to cancel his performance.  Regev had opined that ‘public funds should not support activity that undermines the state, its values and symbols in the name of art and freedom of speech’ and accused Nafar of writing lyrics that legitimated terrorism . ‘I won’t let them silence me’, said Nafar, as ‘protestors in the audience booed at him and even gave him the middle finger, lifting up hands wrapped in the Israeli flag’. ‘And to those of you yelling and trying to ruin this,’ he added, ‘I can’t even bring myself to hate you’.

 Palestinians invade Israel in new video posted by Israel’s Foreign Ministry

Allison Kaplan Sommer, blogging in Ha’aretz (7th October), criticises a new propaganda film posted by Israel’s foreign ministry.  Sommer notes that the film ‘takes liberties’ with history, is insulting, and possibly racist. The film presents Jewish links with the territory of Israel as unshared and unbroken.  Other peoples, from Babylonians, to Greeks, to Arabs, to Ottomans are presented as a succession of invaders and interlopers. In the last scene of the film, the final group of aliens arrive: they are Palestinian.

Below the line commentators on her blog are forthright:

‘That the Israeli government would go out of its way to offend intelligent people with garbage like this is beyond belief’.

By the beginning of October, the film had received 150,000 views and had been shared more than 3,000 times.