justice

January 4, 2013December 11, 2020

Stanley Jordan – “Love and Light” Isn’t Enough to End Apartheid

Stanley Jordan: You Don’t Get to Peace without Real Solidarity

by Rima Merriman

After putting BDS activists through their paces for eight straight days of discussion on his Facebook page, noted Jazz musician Stanley Jordan announced on January 1st, that he had decided not to support the call of the Palestinian civil society to boycott the upcoming Red Sea Jazz Festival this month in Eilat, Israel.

In his announcement, Jordan referred to a “spirited online discussion and much deep soul-searching” but did not give a reason for his decision. Instead, he avowed his dedication to “world peace” and pledged to demonstrate to the many activists who had contributed to his Facebook thread with over 800 posts of information and considered arguments – including two messages from the Palestinian Campaign for the Academic and Cultural Boycott – that he had “heard” them and was ready to make others hear their impassioned plea. Jordan had concluded that that the best way “I could serve the cause would be to do my performance as scheduled, but separately organize an event in a major city in the United States to raise funds and awareness of the plight of the Palestinian people. The time frame will be in September or October 2013.”

Though not unexpected, that “conclusion” was problematic for many BDS advocates. The discussion on the thread ranged over a wide variety of topics triggered by Jordan’s questions. However, there was one central issue that kept rearing its head: What does it really mean to be in solidarity with an oppressed people?

Besides Jordan, some artists, like Native American poet and musician Joy Harjo, who are approached by PACBI and asked to heed the Palestinian people’s call to honor the academic and cultural boycott – that is, to stand in solidarity – too often arrogantly assume that they can demonstrate their support by performing in Israel and then gesturing to Palestinians through other means of their own choosing, for example by arranging for a parallel performance in the occupied territory. That’s an offer that PACBI, which is represented by over 170 civil society organizations and is growing in international support daily, categorically refuses. The list of artists who have respected the call includes Santana, Cat Power, Elvis Costello, Cassandra Wilson, Massive Attack, Jello Biafra, Faithless, Leftfield, Gorillaz, Pixies, Gil Scott Heron, and many more that have refused to play for apartheid and is growing.

It is well known that Israel utilizes international artists as part of a clear strategy of normalization to try and legitimize settler colonialism, occupation, and apartheid. “Branding Israel” is a propaganda campaign financed by the well-heeled Israeli Ministry of Foreign Affairs in order to showcase a side of Israel more palatable to the world. PACBI asks artists not to be complicit in these state efforts by not performing in Israeli institutions. Those who do not heed the call often end up regretting their decision, as has been expressed by Macy Gray, Pete Seeger, Richard Montoya and others.

Jordan is now trying to justify his decision by expressing inchoate beliefs about the power of his art to achieve “world peace” by “changing consciousness” while propounding the notion that the boycott undermines the freedom of the artist and limits the transformative power he possesses over his audience. By doing so, he has elevated the status as an artist as though he is ‘above’ human rights. True change of consciousness comes when the privileged use their power to stand in solidarity with the oppressed, not in telling them how best to resist – as he also tried in his comments on Facebook.

At several stages in the discussion, Jordan outlined his dilemma: “This situation and the information I’ve received has really moved me, and I regret that we have this sticking point about the boycott being the only acceptable form of help.” Activists pointed out that the boycott is one of the most effective ways to peacefully protest Israel’s deadly subjugation of Palestinians and one that is called for by those being oppressed. But more importantly, they explained what an act of solidarity actually demands. Adrian Boutureira Sansberro spelled this out most powerfully in his comments to Jordan:

“Firstly, we are in solidarity with the oppressed, not the oppressor. Secondly, being in solidarity entails being able to take direction from those one claims to be in solidarity with. Learning how to take direction, as to what is it that those we are in solidarity with wish us to do, is a huge aspect of shifting the relationships of power between the oppressed and the oppressor. It is also a way to really come face to face with our own true commitment and power issues. To do as we wish, is not being in solidarity. It is practicing supremacist charity. I say supremacist, because even when people claim to be in solidarity, they refuse to relinquish their own power and privilege as individuals. They refuse to surrender their own interests. They refuse to recognize that the collective must always be greater than the individual, or we are not in solidarity at all. We are then independent actors who cannot accept taking direction for whatever reason.”

In the end, Jordan was unable to relate to the above careful and important distinctions. He remained stuck on the notion of “help” in the sense of charity – thus his proposed charity concert in the US. “I would like to work in alliance with those who support the Palestinian people and, in the true spirit of alliance, have it be understood that there may be differences of opinion on how best to accomplish that.” Many people told Jordan that he could choose to do his own thing to show a sense of empathy or “an alliance” with the cause (as opposed to what is being requested of him specifically), but they also explained that such a choice would not be as effective and would certainly not be in solidarity in the true sense of the word, which is why Jordan’s decision not to support the boycott provoked Sylvia Posadas, one of his interlocutors to write simply: “So sorry you cannot fully support Palestinian people at this time. You have not been requested to give charity, but support for their ethical choice of tactic. In time, perhaps you will understand what ‘solidarity’ really means.”

SOURCE

May Your Presents Not Be Plastic This Year

This solstice, celebrate trees with their gift of diversity and life, conserve dwindling resources from human predation, and aim at ending all tyrannies, capitalism, racism and bigotry and especially US imperial hegemony, the dominion of apartheid Israel over Indigenous Palestinians and Indonesia over West Papuans.

In the home zone, here’s to de-amalgamation of Noosa from the development-crazed southern Sunshine Coast vultures and protection of our UNESCO-designated biosphere in March – even if the rest of the planet goes down due to pollution and over-consumption, at least we succeeded in living in harmonious sustainability with the environment in Noosa!

Me to parent as one surveys the mountains of child-placating crap: ‘Wow, what a lot of plastic!’

Parent: ‘I never got anything at Christmas as a child so I am making sure my kids get everything!’

Me: ‘So you really spent thousands of dollars on yourself.’

Parent: ‘We can spend hours together building this rare R2D2 lego model!’

Me to child: ‘Did you get any books?’

Child: ‘No, just this instruction manuel for Power Rangers’.

This society is not built for me.

November 2, 2012

Remi Kanazi Says “Normalize This!” to Apartheid Israel

Great beatrap poetry!

October 4, 2012December 11, 2020

International Harp Contest Funded by Apartheid Israel Used as Propaganda

Facts Uncovered: Amazing Revelations About Israel’s International Harp Contest

Why are harpists showing dwindling interest in travelling to Israel for the Harp Contest? The Contest website boasts that it looks ahead to the next 50 years, and invites harpists to join in the 18th contest from November to December, and lodge in the biblical city of Jaffa near Tel Aviv beaches.

Some interesting facts have come to light about the International Harp Contest in Israel. According to Carl Swanson, former student of the late master harpist Pierre Jamet, Israel was only supposed to be the location for the International Harp Contest in its inaugural year. Swanson wrote on a forum in the harpcolumn website:

Just to let you know: My teacher, Pierre Jamet, was the one who came up with the idea of an international harp competition and was part of the original organization that founded the Israel Competition. But their original plan was to hold the competition in a different country each time, not always in Israel. They chose Israel for the first competition because of the story of King David. But as soon as the first competition took place, the Israeli organizers took hold of it and kept it in Israel. [1]

This anomaly in planning the hosting of the event should lead to serious questions by international harpists regarding the contest continually being held in Israel. More facts have been uncovered which show how the Israeli government financially sponsors the contest [2], and there is strong evidence that the harp is being used as a propaganda tool to promote the Zionist state of Israel.

ORIGINAL INTENTIONS NOT HONORED

The contest is being seriously misused since the original founders intended the competition to live up to its title as an “International” Contest. No doubt Pierre Jamet was very disappointed that the contest he helped to found never took place in his home city of Paris. Jamet’s former student, Ruth Inglefield, tells how he “worked tirelessly to help create the beginnings of the large international family [3].”

How sad that his plans were never realized. Jamet passed away in 1991, always knowing that his intentions were not honored. Indeed, research shows that Jamet disassociated himself from Israel after 1965, just 6 years after the contest began in Israel.

There were other harpists who were also undoubtedly disappointed that Israel “took hold of the contest.” Maria Korchinska (England), Phia Berghout (Holland), Clelia Gatti Aldrovandi (Italy), Vera Dulova (Russia), Nicanor Zabaleta (Spain), Lucile Johnson Rosenbloom, Lucile Lawrence and Eileen Malone (USA), Marcel Grandjany and Carlos Salzedo (USA and France) were all renowned harpists and founders of the contest, they must have had visions of someday seeing the tri-annual contest in their home countries as well.

1959 Harp Contest — (above, this poster for the first contest is evidence that the liberty was taken to rename the contest thereafter)

DWINDLING INTEREST

The Israeli Meitar Collection Website states that:

The Harp Competition – the first in the world – was founded in 1959 on a shoe-string by [sic] Aaron Zvi Propes. It takes place every three years and is considered the most [sic] important world harp contest contributing to Israel’s prestige.

Thirty-six entrants up to age 35 are accepted for every competition [4]

In 2003, the International Harp Contest, according to Israeli harpist Sunita Staneslow, had only eleven competitors. It fell far short of 36 contestants! Staneslow wrote on her website:

There were only eleven competitors this year due to the political situation in Israel, and I wondered if that would mean a loss of stature to the competition. [5]

This is not surprising, as the contest focuses primarily on placing the culture of the Israeli state on the International stage [6], and not on harpists, their talent and art. So desperate are the organizers for participants, that the 2012 contest now offers to pay half of all hotel and food costs for contestants.

Varvara Ivanova, Julie Bunzel, Albane Mahe and Etsuko Shoji were four of the eleven contestants present in 2003, and they all received a prize in Israel. Yet, how difficult would it be to place when the competition is so scanty? By contrast, The USA International Harp Competition had 39 contestants in a recent competition [7]. Of course, Staneslow is right, there is great loss of stature to Israel’s Harp Contest.

The real underlying reason for that loss of stature and prestige comes from the fact that Israel is committing the crime of apartheid against the Palestinian people. Recently, the UN Committee on the Elimination of Racial Discrimination emphasised:

The Committee’s concluding observations and recommendations are notable because they establish that Israel’s policies in the Occupied Palestinian Territory (OPT) are tantamount to Apartheid, and additionally determine that many state policies within Israel also violate the prohibition on Apartheid as enshrined in Article 3 of the Convention. [8]

HARPISTS PREFER CONTESTS IN EUROPE AND THE USA

In conclusion, efforts to revive the flailing contest in Israel are not likely to succeed, just as apartheid in Israel is not sustainable. Many harpists today do not even consider the Israel contest. They are looking to other contests such as the highly competitive and very popular USA International Harp Competition, the Lily Laskine in Paris[9], and the International Harp Competition of the Cité des Arts in Paris[10]. The Dutch Harp Competition is described as a “revolutionary international harp competition hosted in the Netherlands.[11]” The International Golden Harp Competition[12] was also recently inaugurated in Russia, and could likely replace the Israel Contest.

Harpists are likely investigating Israel’s many violations of human rights and are choosing to heed the call to boycott, reiterated by George Roger Waters of the legendary Pink Floyd:

This is, however, a plea to my colleagues in the music industry, and also to artists in other disciplines, to join this cultural boycott.

Artists were right to refuse to play in South Africa’s Sun City resort until apartheid fell and white people and black people enjoyed equal rights. And we are right to refuse to play in Israel until the day comes – and it surely will come – when the wall of occupation falls and Palestinians live alongside Israelis in the peace, freedom, justice and dignity that they all deserve.[13]

– George Roger Waters, The Guardian, UK, 11 March 2011

[1] http://www.harpcolumn.com/forum/message-view?message_id=19143167
[2] ”The Power Behind Israel’s Harp Contest” http://boycott-israel-harp-contest.posterous.com/the-power-behind-israels-harp-contest
[3] REMEMBRANCES OF PIERRE JAMET IN HIS CENTENNIAL YEAR By Marie Claire Jamet, Ruth Inglefield, and Carl Swanson http://swansonharp.com/articles/remembrances_pierre_jamet.html
[4] http://meitarfamily.co.il/206105?language=english
[5] http://www.sunitaharp.com/articles/TopHarpists.html
[6] Propes indeed placed Israel’s culture on the international stage. http://www.harpcontest-israel.org.il/about
[7] USA International Harp Competition concludes http://www.idsnews.com/news/story.aspx?id=76234&search=al&section=search
[8] UN Committee 2012 Session Concludes Israeli System Tantamount to Apartheid http://www.jadaliyya.com/pages/index/5588/un-committee-2012-session-concludes-israeli-system?fb_action_ids=4127358194162&fb_action_types=og.recommends&fb_source=aggregation&fb_aggregation_id=246965925417366
[9] http://lilylaskine.online.fr/english/competition/competition.htm
[10] http://www.harpcompetition-citedesarts.com/
[11] Dutch Harp Competiton 2012 http://www.harpfestival.nl/competition
[12] http://www.goldenharp.ru/eng/main/?year=2011
[13]Tear Down This Israeli Wall http://www.guardian.co.uk/commentisfree/2011/mar/11/cultural-boycott-west-bank-wall

SOURCE

September 14, 2012December 11, 2020

Israel’s Cultural Hasbara Exports

Music industry figure in Israel, Jeremy Hulsh of Oleh! Records, is encouraging the Israeli government to invest in up-and-coming musicians as soft sell ambassadors for state propaganda. From Oleh! Records’ business plan, the company has a broad interest in utilising culture as hasbara:

contributing to the overall Government’s desired long term outcome for the areas of Culture, Economic Development, Regional Cooperation, Public Diplomacy (branding), and Diaspora Relations – ‘A right to culture’ the right to create a culture and the right to consume culture’ as laid out particularly by the Ministry of Culture and the Israeli Ministry of Foreign Affairs.
…
Defining Israeli industry “characterized by groundbreaking entrepreneurship, Israel yields pioneering technologies, profitable business opportunities and high investment returns” – as claimed by the Ministry of Trade & Labor. Likewise- the explicit national agenda to “make it possible for every Israeli to participate in improving Israel’s image in the world, and thereby contribute to its political and economic strength as well as its international standing.” – as promoted by the Ministry of Public Diplomacy.
…
While Israeli music industry and culture professionals have long been aware that independent musicians and Israeli music sector-at large make significant contributions not only to local culture and the economy, Israeli music culture significantly improves relations with the Diaspora community and foreign populations as a measure of soft power.

Oleh! presently obtains funding from “philanthropic support outside the State of Israel including Australia and United States based foundations” and envisages that “Israeli Music will benefit from a synchronized brand identity which must be coordinated and marketed by a non governmental Israeli body with an apolitical association“.

In 2005, Nissim Ben-Sheetrit of Israel’s Foreign Ministry stated: “We see culture as a propaganda tool of the first rank, and I do not differentiate between propaganda and culture.”

Concrete examples of Israel’s cultural hard sell hasbara include the sites Size Doesn’t Matter and the Creative Community for Peace, where quotations are collected opportunistically of artists who have flaunted the cultural boycott called by Palestinians.

This new story in The Jewish Week highlights potential for Israel’s cultural music-washing exports:

Overcoming Israel’s unflattering image in the international media — especially in Europe — is another challenge. Malcolm Haynes, a music programmer for the U.K’s Glastonbury Festival, said he came to Israel to learn about the music scene and a little bit about the politics.

While Israel remains an obscure music scene, booking Israeli acts runs the risk of triggering boycotts, he said. Despite that, Haynes said he had been impressed by the musicians at the conference, and expected some might get invitations to play at Glastonberry. “I’m about building bridges.”

Despite the potential for boycott, Oleh Record’s Hulsh says that Israel’s government should invest more in helping fledgling artists reach concerts abroad as a way to boosting Israel’s image in an organic way rather than with heavy-handed propaganda.

“Each of them is an authentic cultural ambassador,” he said. “When they get on stage and tell their story, they change a narrative.”

All Israelis performing abroad who obtain Israeli government funding to do so are required to sign a contract which converts them into a marketing emissary for apartheid:

“The service provider undertakes to act faithfully, responsibly and tirelessly to provide the Ministry with the highest professional services. The service provider is aware that the purpose of ordering services from him is to promote the policy interests of the State of Israel via culture and art, including contributing to creating a positive image for Israel.”

No promotion of the state, no funding. Who can trust the stage ‘narrative’ of artists beholden to an apartheid government for favours?

Music cannot cross apartheid walls and it is an obscenity to pretend otherwise when oppressed Palestinians have requested global solidarity for boycott, divestment and sanctions in order to obtain their just rights.

Say no to musicwashing Israel’s continuing oppression of Indigenous Palestinian people and refuse to entertain musical hasbara agents who are complicit with apartheid. Palestinians do not have a massive, well-funded state apparatus to broadcast their plight, and they deserve support from conscientious people around the world. Boycott!

The latest target of the Tourism Ministry is the foodie world, specifically food bloggers, who are brought on paid trips to Israel where their senses are dulled by stolen hummus and they go home and gush appropriately about what they have seen. Indeed, “David Lebovitz, an American writer and pastry chef living in Paris whose food-centric personal website receives nearly 2 million unique visitors per month, wrote seven posts about the trip, all of which presented Israel (and its cuisine ) in a positive light.” How’jya like them apples BDSers?

Brand Israel – Palestine activists picket Israeli film fest:

In 2009, then spokesperson of Israel’s Foreign Ministry Arye Mekel said the initiative to “re-brand” Israel involved sending “well-known novelists and writers overseas, theatre companies, exhibits … [to] show Israel’s prettier face, so we are not thought of purely in the context of war.”

Likewise, current deputy Foreign Minister Danny Ayalon has said: “Branding Israel is a way to bring who we are, without the prisms of political agendas, to the masses.”

Syncretism of food culture and freebie hasbara trips for food bloggers to pad out Brand Apartheid Israel

BDS: Growing out of the fringe
Why a boycott of Israeli academics is fully justified
New Al Haq report says governments within their rights to sanction Israel over settlement enterprise

Protesting the Batsheva Brand Israel dance export in Edinburgh, Scotland.

Rebranding Israel: History out, creativity and innovation in

“We understood that it wasn’t enough to say we have creative energy – we actually had to be that way,” says Friedman. “This is the essence of Israelihood – everyone does what they want to do. It’s not refined, but dynamic and varied.”

Natanzon says that the Foreign Ministry considered adopting the values from the “Start-Up Nation” book, by Dan Senor and Saul Singer, when branding Israel.

“But we didn’t want to do that,” he says. “It would only reference one sector of the population, and exclude the others. We wanted to take it to the next level, to showcase the variety and creativity there is throughout the whole country.”

Out: Jewish heritage

It’s impossible not to notice that the new branding excludes central characteristics associated with Israel, such as Jewish culture and heritage and the country’s holy sites – all of which appear in countless official adverts.

“The branding looks at something broader,” Natanzon explains. “The aim was to create a new range of conversations for the country’s brand. The historical components are already part and parcel of its image.”

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