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‘We will not give up’ on judicial changes, right-wing protesters at Israel’s largest pro-reform rally are told
JERUSALEM (JTA) — The right-wing protest that took some 200,000 people to Jerusalem’s streets on Thursday night to demonstrate in favor of the government’s judicial overhaul felt bizarrely familiar.
In many ways, it mimicked the anti-government protests that it meant to oppose: Like the demonstrations that have filled Tel Aviv’s streets every week this year, this too featured lots of Israeli flags, chants to the tune of “Seven Nation Army” and signs declaring that the rally represents the majority of the country.
And like the protests in Tel Aviv, Jerusalem’s mass gathering felt driven by grievance: a sense that the country the rally-goers had fought for — the country they thought they had — was being taken away from them.
“There are those who have decided that they can make decisions for me, even though they have no right to decide for me,” said Michal Verzberger, who came from the central town of Mazkeret Batya with most of her family to protest in favor of the reforms. Verzberger was echoing a central message of Thursday’s protest: that the right won the recent elections, and therefore had every right to pass its desired judicial overhaul.
“The nation decided it wanted reform, and there are some who are protesting the reform, and they’re deciding in our place that there won’t be a reform,” she said. “The minority is deciding what is good for the majority.”
The idea that a loud minority is unjustly obstructing the will of the electorate inspired Thursday’s protest, which filled an artery of central Jerusalem with a largely Orthodox, religious Zionist crowd. The judicial overhaul would sap the Israeli Supreme Court of much of its power, and since it was proposed at the beginning of the year, hundreds of thousands have filled the streets — in Tel Aviv and elsewhere — weekly to decry the proposal as a danger to democracy.
Right-wing Israelis attend a rally in support of the government’s planned judicial overhaul in Jerusalem, April 27, 2023. (Erik Marmor/Flash90)
Those protests, and associated actions, led Israel’s right-wing government, led by Prime Minister Benjamin Netanyahu, to pause the reforms for a month — a period that ends in several days. The governing coalition and opposition are now negotiating over the legislation, a process that, if successful, will by definition soften the reforms at least a little.
Thursday’s rally was a show of force that aimed to strengthen the position of the government majority, several protesters said. One of the crowd’s chants was “64 seats” — the majority the right-wing holds in Israel’s 120-seat parliament, the Knesset. One homemade sign read, “64 > 56.”
The government ministers who spoke at the rally did not seem interested in half-measures. They promised that despite the delays, the substance of the reform would become law.
“Listen well, because this is my promise: We will not give up,” said Bezalal Smotrich, the far-right finance minister. “We won’t give up on making Israel a better place to live. We won’t give up on the Jewish state. … We’re fixing what needs to be fixed, and promising a better state of Israel for us and for the coming generations. Most of the nation agrees that the judicial reform is the right and necessary thing to do for the state of Israel, and I say again: We will not give up.”
Who is, in fact, in the majority on this issue is a more complicated question than it seems. Israel’s electorate has had a right-wing majority for years, both according to polls and election results. While the ideological bent of coalitions has varied, the past 22 years have seen only several months — last year — with a prime minister who didn’t build his career in conservative politics.
Justice Minister Yariv Levin at a rally in support of the government’s planned judicial overhaul outside the Knesset in Jerusalem, April 27, 2023. (Arie Leib Abrams/Flash90)
But polls also show that a majority of the country opposes the court reform itself, which has been pushed through the Knesset without any support from opposition parties or even engagement with their concerns. The central motivation of the anti-overhaul protests has been the importance of defending democracy and an independent court system.
That idea vexed Thursday’s protesters. “We won’t give up on Israeli democracy, and no one will steal that word from us,” Smotrich said. Yariv Levin, the justice minister and architect of the judicial overhaul, said, “Two million Israelis, half a year a year ago, voted in the true referendum: the elections. They voted for judicial reform.”
Protesters who spoke to the Jewish Telegraphic Agency said they supported the overhaul’s provisions, which include giving the governing coalition a large measure of control over the selection of judges and allowing the Knesset to override most Supreme Court decisions with a bare majority. Observers across the political spectrum and around the globe have cautioned that those changes could damage Israel’s democratic character.
But protesters said that, rather than destroy democracy, the overhaul would restore balance to Israel’s branches of government, curbing an overly activist court.
“I want a real democracy in the state of Israel,” said Chanan Fine, a resident of the central city of Modiin. “In a democracy there are three branches that have balance between them, and what happened is that the judicial branch has taken for itself the powers of the legislative branch and the executive branch.”
He added, “The government needs to have the ability to determine policy and to pass laws, and if there’s a policy that contradicts the laws of the state then the Supreme Court needs to get involved,” but less often than it does now, he explained.
Under the proposed legislation, the governing coalition would not have to respect the determination of the Supreme Court.
The message of the protests wasn’t the only thing that separated it from the Tel Aviv demonstrations, which largely draw secular Israelis. While few haredi Israelis attended the event — a leading haredi newspaper instructed its readers not to go, even as it expressed support for the cause — religious ritual pervaded the demonstration. Men gathered in prayer quorums before sunset on the way to the protest, and rallygoers recited the Shema and traditional prayers for salvation en masse. Most of the men wore kippahs, and most of the women wore long skirts.
Some signs at the Tel Aviv rallies, in addition to opposing the overhaul, advocate for LGBTQ rights or Israeli-Palestinian peace. Signs and shirts at the Jerusalem rally instead trumpeted settlements in the West Bank and the belief that the late rabbi of the Chabad-Lubavitch Hasidic movement is the messiah.
One thing that the two rallies had in common: a preponderance of Israeli flags, something that has been particularly noted at the anti-overhaul demonstrations.
“It’s a desecration of our symbol,” Chen Avital, a protester from the West Bank settlement of Shilo, said about the anti-government protesters’ adoption of the flag. “They took it for a certain side that isn’t supported by the whole country, and they changed it to their side over the past few months. … It’s a flag that represents all of us, and they took it for their own side.”
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Amid blazing heat and rising tides, artists find beauty and desperation in these biblical times
Daniel Rothbart’s floating aluminum and glass forms are at once playful and lyrical, biomorphic and other-worldly; prehistoric and futuristic. They are set in a pond and two small pools in Staten Island’s Snug Harbor, a hidden pastoral gem that once served as a safe haven for sailors.
Overflowing with colorful flowers and plants and shrubbery, the scene is idyllic, short of the oppressive, steamy heat that has settled over the landscape. But then that’s part of it too. Rothbart’s Serpentine Sibyls: A Floating Sculptural Installation, animated by winds and currents, are site-specific and immersive. He is keenly in tune with its ecology.
“No, my work has not always addressed political issues, but water is a fraught medium,” he told me over the phone. “You can’t work with water without addressing its importance to life on this planet and climate change and stewardship. Water has always fascinated me.”
Growing up in the Pacific Northwest the ocean was a constant alluring presence. And as a Jew, the water’s historical, cultural and religious traditional significance is defining, he said.
“There’s the purification ritual of the mikveh, the parting of the Red Sea, the washing of hands and feet before entering the temple in Biblical times and the casting off of sins, Tashlich on Rosh Hashanah. Water diplomacy and technology has always been central in Israel. Making the desert bloom.”
Rothbart, a multidisciplinary artist whose work has been exhibited across the globe, is the author of Jewish Metaphysics as Generative Principle in American Art, which examines how Jewish mystical traditions, especially Kabbalah, informed abstract American art in the post-World War II years.
Erudite and heady, Rothbart said that his work can be viewed through the lens of tikkun olam, the Jewish imperative to help repair a fractured world, but it also borrows from Japanese culture, outer space imagery, Marcel Duchamp’s dadaism and Greek mythology.
The title of his exhibit references Sibyls, the Greek female prophets who were consulted in catastrophic times, not unlike our current era cursed by floods and wildfires and heat waves.
Rothbart started thinking about floating sculptures in 2007 for a piece he was conceiving for the Venice Biennial. A city surrounded by water cried out for it. Japanese glass fishing floats came to mind.
“The Japanese fishing floats would wash up on shore in Oregon where I grew up,” he recalled. “I loved the fragile recycled pieces of glass that came from the orient and that I could de-contextualize a common object and in so doing create something new.”
To anchor the sculptures, Rothbart and his assistant kayaked to the middle of the pond. There, once he established where he wanted each sculpture, he dropped each form, now attached to two to five-pound iron weights.
“The sculptures are sensitive to any existing life in the water,” he said. “The pond here has turtles and fish. I’ve found that the animals adjust to the new forms. I love the relationship between life in the pond and the foreign objects.”
Three artists, one flood
The Interchurch Center in upper Manhattan is currently hosting Noah, A Future of Hope, 3 Faiths/ 3 Artists/ 1 Story. A traveling exhibit, it employs the story of Noah and the flood to gently remind viewers to save, protect and celebrate the environment. The topic is explored respectively through a Christian, Muslim and Jewish vision. The artists — Yona Verwer, a Dutch-born Jew, Brian Whelan, a British-born Christian of Irish heritage and Hady Boraey, an Egyptian Muslim — each merge their religious identity with personal aesthetics and the need to advocate for the environment.
“Each artist was invited to create eight paintings that visually inspire our imaginations to heal our world by honoring our intricate connection to the earth as our sustainer, and by maintaining a sacred balance with all her life forms,” said curator Paul G. Chandler in his introductory remarks at the exhibit’s opening night reception. “In this way, the story of the ark, its animals, and the flood, take on contemporary relevance as we face today’s climate crisis.”
Seven is a significant number in each religion, so Chandler selected seven core lessons, each reflecting some part of the Noah story, for the artists to address. The eighth painting from each artist served as a kind of synopsis of the work that was to follow.
Water is a common image throughout the exhibit; indeed, water plays a major role, not only in Judaism, but in Christian and Islamic rituals as well, from Christian baptism to the washing of feet and hands before prayer in a Mosque.
When I asked Chandler if he could guess the religion of each artist on the basis of their paintings he said he could for the Jew and Christian, but wouldn’t have had a clue that Boraey emerges from an Islamic tradition.
“His paintings have an individual aesthetic and a more universal feeling. Still, you never see the face of Noah in his work. In Islamic tradition you can only view him from the back. To see his face is idolatry. Jews have the same tradition, but may not adhere to it as rigidly.”
Some of Verwer’s work incorporates Hebraic texts and characters. In “Care for the Species,” a figure is blowing a shofar. Similarly, Chandler said, he’d know that Whelan’s paintings were made by a Christian. They are literal illustrations of key moments in the Noah story.
His depiction of Noah evokes a figure right out of vaudeville, grinning broadly, sporting a little hat and in more than one instance looking slightly confused.
“Christians turn catastrophe into a kind of children’s bedtime story,” Chandler said. “It’s very Christian to sanitize the story. Jews don’t do that.”
“My being Jewish — a religious Jew—has had a bearing on how I look at everything,” said Verwer who says that water and its preservation is deeply important to her not least because for more than 2,000 years Judaism has had many rules to safeguard water. As a Holland native, she, like Rothbart, grew up near water and so it was always part of her universe.
Verwer’s work is also exhibited in an accompanying solo show, Fluid Futures-Living Waters, which features eight paintings that explore ocean pollution through a comic sensibility. One piece, bal tashchit (prohibition against needless destruction) depicts an octopus, submerged in deep ocean waters, clutching a soda can in its mouth.
“I don’t feel a painting is finished if I haven’t laughed at least once,” Brian Whelan said. “But it also needs a message.”
His major challenge was Chandler’s insistence that the paintings embrace a note of optimism.
“I don’t see any hope in what’s happening to this planet,” said Whelan. “My work mostly follows in the tradition of East Anglican medieval narrative paintings found in churches dating back to the 14th-to-16th centuries.”
For me his strongest piece is “Humans Outside the Ark Perished,” which appears in his linked, one-man show, 40 Days and 40 Nights. Here we see desperate hands reaching towards Noah for safety. A mouse sits alongside Noah, a poignant image. It’s safe and sound compared to the desperate humans.
Of the three painters, Boraey said his work was the least likely to be connected to any one particular religion. Unable to obtain a visa to the States he spoke to me on the phone from the Northern coast of Egypt.
He said his piece “The Great Collapse” spoke most vividly to both the Noah story and the ecological precipice we’re now facing as a result of climate change.
In the foreground, we view Noah from the back gazing out across a body of water at masses of people crushed together and almost immobilized as they hopelessly struggle to move forward. In the background hangs a giant and cratered blue moon sinking below the horizon and into the ground. It is at once foreboding and exquisite.
Having participated in exhibitions in the Middle East and Europe, Boraey said he was most influenced by the surrealist art movement in Cairo in the late 30s. The marriage between folkloric and political motifs is its hallmark.
The Noah tale for him is “both pessimistic and optimistic because hope is always there and they survived at the end of the story,” he said. “Noah saved humanity. He reminds us that we have to be very careful with the earth.”
In harmony with nature
Back at Snug Harbor, the late afternoon heat dome has made the airless, sun-baked space even more relentless than it was earlier in the afternoon. Rothbart’s visitors are slowly straggling out of the park, some wiping away sweat with bits of tissue, others fanning themselves; still others pouring water from their bottles onto reddened necks and arms and legs indifferent to the water splashing on to their clothes.
“Talk about global warming and climate change,” he told me. “This weather only drives home the point of just how serious this is and how we have to learn to live in harmony with nature and our environment.”
Serpentine Sibyls will run through Sept. 28.
Noah: A Future of Hope will run at the Interfaith Center through Aug. 26 and then continues its global tour.
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Fire at Postville, Iowa, kosher meat processing plant shuts down production ahead of the High Holidays
(JTA) — A major fire at one of the largest kosher meat processing plants in the United States is poised to increase the price of kosher meat ahead of the High Holidays, in addition to devastating the plant’s local community.
Investigators in Postville, Iowa, said on Wednesday that the fire that devastated AgriStar Processing started accidentally in the facility’s laundry room. The fire, which began on Tuesday, destroyed at least 75% of the plant and has put more than 600 people out of work, Fire Chief Jeff Bohr told the local TV network KCRG.
The fire has also interrupted a linchpin of kosher meat production, according to OU Kosher, the oversight agency run by the Orthodox Union.
“The damaged facility means a significant portion of kosher beef and chicken slaughtered and sold in the US will not enter the kosher supply chain,” Rabbi Moshe Elefant, the organization’s CEO, said in a statement on Wednesday. “Kosher consumers will feel the impact of the tightening supply with reduction of availability.”
Elefant said OU Kosher was working to “find solutions for ramping up production at other plants” while warning that the crisis could fuel bad actors.
“Unfortunately, when supply is limited, it creates opportunity for unscrupulous individuals who seek to make money by preying on the well-meaning Kosher observant public,” he wrote.
Jarad Bernstein, the executive director of the Jewish Federation of Greater Des Moines, said the fire represented “a terrible situation” in an email to the Jewish Telegraphic Agency.
“The impact on the local community and the business will be large,” he said.
The fire is not the first time that a crisis at AgriStar has sent the community into a tailspin. In 2008, a federal immigration raid at the plant, then known as Agriprocessors, netted the arrest of hundreds of workers and led to the arrest and conviction of the company’s longtime CEO Sholom Rubashkin on 86 counts of bank fraud, mail fraud and money laundering. It also led most of Postville’s Jewish residents to leave the town, which had developed as an unusual stronghold of Orthodox life in eastern Iowa.
Saying that “many people” believed Rubashkin’s 27-year prison sentence had been excessive, President Donald Trump commuted Rubashkin’s sentence in 2017. Rubashkin’s conviction stands.
Canadian Jewish billionaire Hershy Friedman purchased Agriprocessors and reopened it as Agri-Star. He told JTA in 2016 that he had done so after being urged by Jewish leaders to ensure competition in the kosher meat processing industry.
“It wasn’t done for financial purposes; it was done to really cater to the Jewish community,” he said about the purchase. “During the time Rubashkin was closed, the price of beef roughly doubled. After we acquired it, it came right back down.”
Friedman also said he had shored up the company’s employment practices, which had run afoul of the law, and made improvements to the slaughter process that had made Agriprocessors a target of animal rights activists.
Agri-Star said in a statement on Wednesday that it appreciated the first responders who “worked tirelessly and selflessly to protect lives and contain the fire” and the employees who had shown “inspiring” care for each other. It also indicated that it did not yet know the future of the plant.
“We understand there are many questions about what comes next,” Agri-Star wrote on social media. “While we are still gathering information and evaluating our short-term plans, we are committed to sharing verified updates as soon as they become available. We appreciate your patience as we work through this process thoughtfully and responsibly.”
This article originally appeared on JTA.org.
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California law on antisemitism in schools will be enforced after free speech challenge is defeated
(JTA) — A California law to prevent antisemitism in schools will be enforced after a federal judge dismissed a challenge from teachers and students who said it violated free speech.
U.S. District Judge Noël Wise on Tuesday ruled against a lawsuit opposing Assembly Bill 715, which went into effect in January. The new law introduces measures to curb the “widespread surge in antisemitic discrimination, harassment, and bullying” faced by “Jewish and Israeli American pupils across California.”
As part of the law, California is establishing an Office of Civil Rights with a new statewide antisemitism prevention coordinator for public schools, who has not yet been appointed. The law mandates teachers to provide “factually accurate” instruction rather than “advocacy, personal opinion, bias, or partisanship.” It requires local educational agencies to take action if they find that instruction or school-sponsored materials are discriminatory.
A group of teachers, students and the American-Arab Anti-Discrimination Committee filed a challenge in November. They said the law was unconstitutionally vague, chilled speech in the classroom about Palestinians and discriminated against Palestinian, Arab and Muslim students and perspectives.
Wise said it was too soon to consider these claims, given the uncertainties still surrounding the new Office of Civil Rights, its leadership and how it will define and respond to antisemitism. She also said that teachers and students did not provide sufficient evidence of infringements on free speech, and teachers could not claim speech rights on the job.
“Teacher Plaintiffs are not acting as private citizens and therefore do not have First Amendment rights while teaching,” Wise said in her ruling.
She also dismissed the claim that the law would discriminate against non-Jewish students. “The existence of an Antisemitism Coordinator does not change the Office’s overarching purpose to stop discrimination generally; it merely reflects the State’s decision to accord specific funds to a specific problem,” she said.
Malak Afaneh, a staff attorney at ADC, said the group was reviewing the court’s decision and considering its options.
“AB 715 has already caused educators to alter the way they teach out of fear that classroom discussions or activities could trigger complaints or investigations,” Afaneh said in a statement. “When teachers feel compelled to abandon cultural identity projects or avoid discussions about Palestine, it is students who are denied the opportunity to engage with diverse ideas and perspectives.”
The Jewish Community Relations Council of San Francisco celebrated Wise’s decision as “great news.”
“This ruling, and the fact that the case has been dismissed with prejudice, affirms that AB 715 is a strong, legitimate approach to protecting Jewish students — and all students — against harassment and discrimination,” the group said.
This article originally appeared on JTA.org.
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