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Representatives from The New Israel Fund of Canada come to Winnipeg to speak to Winnipeg audience
By BERNIE BELLAN In 1977, Menachem Begin became Prime Minister of Israel when his Likud Party was able to form a very narrow coalition with two other parties, thus ending 29 years of dominance by Israel’s Labor Party.
That event set in motion a series of changes to Israel’s political, social, and economic landscapes that are still reverberating to this day.
In reaction to the strongly conservative tilt of Begin’s government – which threatened to undo many of the democratic underpinnings of what Israel’s founders had attempted to achieve when Israel became a state in 1948, a group in California created what was known as the New Israel Fund. According to Wikipedia, “The New Israel Fund was established in 1979 in California and is credited with seed-funding ‘almost every significant cause-related progressive NGO in Israel’. Since its inception the fund has provided over US$250 million to more than 900 organizations. NIF states that while its position is that ‘Israel is and must be a Jewish and democratic state’ it says it was among the first organizations to see that civil, human and economic rights for Israeli Arabs is an issue crucial to the long-term survival of the state.’ “
In 1986, The New Israel Fund of Canada was established as a separate entity, with full charitable status in Canada. Since that time, “NIFC has contributed over $10 million to more than 100 organizations in Israel that fight for socio-economic equality, religious freedom, civil and human rights, shared society and anti-racism, Palestinian citizens, and democracy itself,” according to information taken from the NIFC website.
On Wednesday, December 11, two representatives of the New Israel Fund of Canada who were in Winnipeg spoke to a small group of individuals who braved a bitterly cold night to attend an information session held in the basement of Temple Shalom.
Those two individuals were: Michael Mitchell, a former Winnipegger and a longtime member of the board of NIFC; and Ben Murane, the executive director of NIFC. It was the first ever visit for Murane to Winnipeg and he said that one of the reasons he came here was to help make the work that NIFC has been doing in Israel more widely known to Winnipeggers.
Michael Mitchell introduced himself to the audience, saying that “the person who introduced me to the The New Israel Fund was (the late) Vivian Silver” (who, most readers are no doubt aware, was killed in the October 7 massacre).
Mitchell explained that the The New Israel Fund started “in the 1980s in a very small way, funding certain groups as the problems in Israeli society grew more severe.”
The New Israel Fund of Canada adheres very closely to the rules set out by the CRA for Canadian charities, he said. “We have agents in Israel supervising our projects.”
“NIF in Israel has an international board,” Mitchell noted, including Palestinians and representatives from NIF from other countries.
“NIF has money; they’re nimble, they’re quick,” Mitchell said, “to take nascent Israeli organizations and bring them along.”
NIF “has become much more sophisticated these past five years,” he suggested.
He cited as an example of how effective NIF has been in advancing the work of various Israeli peace groups the drastic decline in violence within Israel itself this past year between Jews and Palestinians, as opposed to what followed in the immediate aftermath of the October 7 massacre, when communities like Lod were riven by violent clashes between Israeli Jews and Arabs.
“If you’re in the middle of a war then you have to tamp down the violence between Jews and Palestinians,” Mitchell said. And a lot of the reasons for the decline in that kind of violence is attributable to the work done by organizations funded by NIF, he suggested.
Where NIF has achieved particular success, he continued, “is in organizing on the ground if you’re opposed to the messianic tendencies of the current Israeli government.”
“There’s a much bigger audience – both in Israel and abroad, that wants to see progressive goals achieved,” Mitchell argued.
As for where The New Israel Fund of Canada stands, Mitchell noted that “the Canadian Jewish community is going through what the American and British communities went through 15 years ago, which is to stop waiting for mainstream organizations to represent them.” A lot of new groups have been formed, he noted, such as “Women Wage Peace” and “Stand Together,” both of which helped to sponsor the December 11 event.
“Canadian Jews are not more conservative about Israel than American Jews,” Mitchell suggested, referring to the results of a survey of Canadian Jews for which NIFC was one of the sponsors. (For more on this turn to https://jewishpostandnews.ca/wjn/news-from-syria-shouldnt-distract-from-whats-been-going-on-in-gaza/.)
“There are at least 100,000 Canadian Jews who agree with us completely but are quiet because they don’t want to rock the boat.”
Ben Murane followed Mitchell, giving a lengthy presentation during which he fully outlined what the NIF is all about. He began by noting that “I am also making a pilgrimage to the place that made Vivian.”
Murane was just a youngster when Yitzhak Rabin was assassinated in 1995, he said. “A lot of the stuff I had heard about Israel – about how great it was, wasn’t quite true,” he noted.
Referring to the most recent Likud victory that returned Netyanyahu to the prime ministership in 2022, Murane said: “Let’s flash backward – a government got elected by a slim margin and announced a grand vision for rewriting Israel’s democracy. It was the first wave of what became a global populism.
“We (the NIF) started investing more in Israeli democracy projects.”
Two years ago, Murane reminded the audience, “hundreds of thousands of Israelis were on the streets” protesting what was then the Likud government’s attempt at judicial overhaul – which would have severely limited the power of Israel’s Supreme Court to intervene in cases where civil liberties were at stake.
“We (the NIF) were firmly there,” Murane said, helping Israeli civil liberties organizations to fight back at what the government was attempting to do.
Then, with the events set in motion by the October 7 massacre, Murane observed: “We knew what would happen. They (the Likud-led coalition) would use what happened as an excuse to advance the rest of their agenda.”
But, what happened after October 7 was the almost complete disappearance of many of the structures that held together Israeli civil society, Murane suggested.
Families were forced to evacuate from their homes near the Gaza Strip – with no support given by the government. Instead, groups that had sprung up in 2022 in response to the government’s attempted judicial overhaul stepped in to provide basic supports to those families, with food and housing. The NIF provided funding for many of those groups.
Something else soon became apparent after October 7, Murane said. “It was immediately obvious that the government didn’t care about the hostages…They weren’t their people.” (Many of the hostages came from kibbutzim that were strongly socialist in their orientation and not at all supportive of the right wing government coalition.)
In fact, Murane observed, within Israel’s current political atmosphere, the only opposition to the government is coming from “the organized support for the hostages.”
Something else Murane pointed out about the aftermath to October 7 is that “it wasn’t just Jews hurt on October 7.” There were members of other groups taken hostage, including Thai and Filipino workers, also Arab Bedouins.
The NIF has helped to provide support for evacuees ever since October 7, including to joint Jewish-Arab distribution centres that “have provided aid on a daily basis,” Murane noted.
“It is not Jew against Arab,” he said. “It is those who believe in life as opposed to those who believe in death…We will take care of each other. We will be the first to help civil society deliver aid.”
Murane suggested that there are several key components to what the NIF is attempting to do in Israel, including “pushback, partnership and peace.”
By “pushback,” he meant, pushing back at the narrative that the Netanyahu-led coalition has developed, which is that the hostages will not return until Hamas totally accedes to the demands put forward by the Israeli government.
“Freeing the hostages is a political matter,” he suggested. “The hostage families have been saying to Jews in the Diaspora: ‘If you want to support the hostages, then Bibi has to step down.’ “
As for “partnership,” Murane explained that “there are still many Jewish and Palestinian people who will stand together and find common cause.” He referred to groups such as “Omidm B’yachad” (standing together), whose members have been “protecting trucks bringing aid to Gaza” from Israelis who had been trying to stop those trucks from entering Gaza.
“We want to keep that flame of partnership alive,” Murane said.
He noted that on Yom Hazikaron (Remembrance Day in Israel) over “6,000 Jews and Arabs came together in one place to show compassion for one another.”
When it comes to “peace,” Murane pointed to the example of World Central Kitchen (an organization receiving funding from the NIF), which has been providing food to Palestinians in Gaza. Helping that group is “an act of morality showing people around the world Zionists giving support to their neighbours.”
Insofar as the road to peace is concerned, Murane suggested that “there are ways out of this mess.” He noted that the idea for the Abraham Accords, in which Israel signed peace agreements with Bahrain, the United Arab Emirates, Morocco, and Sudan, in 2020, was actually first advanced by an Israeli peace group known as “MITVIM.”
Murane posited that a “reinvigorated Palestinian Authority” is one component that would lead to advancing the peace process, but “of course the Israeli government doesn’t want to hear about that.”
The NIF has been active in supporting many different Israeli peace groups, Murane noted, including “Breaking the Silence,” which is made up of IDF veterans who want to draw attention to what Israel’s occupation of the West Bank is truly like.
“The way out of this mess is not going to come from the government,” Murane suggested. “It’s going to come from civil society.”
Yet, time is short, he said. There will be another election in Israel within the next year or two. “We have two to three years to see who will win the civil war in Israel: the annexationist camp or the pro-democracy camp,” he said.
To that end, the NIF has greatly increased funding for many Israeli human right groups, Murane noted. (In 2023, the NIF provided $19 million in funding to over 234 different organizations in Israel, of which $1 million came from The New Israel Fund of Canada.)
Local News
Interviews with the curator of the Nakba exhibit and the CEO of the Human Rights Museum
By BERNIE BELLAN On June 26, I was invited to attend the Canadian Museum for Human Right to see the Nakba exhibit prior to its being opened to the public. While I was there I was given the opportunity to interview the curator for the exhibit, Isabelle Masson, along with CMHR CEO Isha Khan. What follows are the transcripts of those interviews (edited only to remove pause words like “uh” and phrases the were repeated). The first interview was with Isabelle Masson:
Jewish Post: Several representatives of Winnipeg Jewish community organization say that they weren’t fairly consulted on this exhibit. How do you respond to that?
Masson: We came to this project with an awareness that Palestinian voices are often marginalized, even silenced, and an awareness that Islamophobia and anti-Palestinian racism have an impact on whose voice is heard and whose suffering is recognized. And so we intentionally chose to centre Palestinian voices with this exhibition.
JP: But to the point that many Jewish representatives of organizations and people within the community at large feel that the Jewish community should have been consulted on an issue that had such a direct impact on the Jewish community – did you not feel an obligation to consult with the Jewish community?
Masson: I think the best person to talk further about this issue is our CEO, Isha.
JP: In terms of the exhibit itself, I must say it really stresses the suffering that Palestinians have endured. But, in looking at other refugee situations around the world, the Palestinian situation seems to me to be unique in that there has never been an effort to resettle Palestinians within the countries to which they were forced to flee.
Do you not think that separates their situation (from other refugee situations) and, in some ways, it has made their situation worse than it could have been?
Masson: Well, the exhibit not only centres that experience of forced displacement and disposition as a longstanding experience across five generation that you know is tied to human rights violations that are ongoing today, but it also I want to point out, you know, foregrounds beauty, foregrounds resilience, foregrounds the maintenance of identity and belonging across time and across that experience. So there’s also these elements about this exhibition because it was also about humanizing Palestinians – about people with families with stories, with creativity – and coming back to some of the videos what interviewees say, right, we hope that Palestinians can be seen as fully human and hope that they can see Palestinians as having human rights and this this story today in this gallery is is a story about human rights.
JP: If I can focus on one particular aspect of the exhibit that I read this morning when I was sent the preview, it referred to what happened between the years 2000 and 2005 as a Palestinian uprising. But the Israeli term would be the Intifada which for them meant large-scale attacks – terrorist bombings by some Palestinians. Did you not think it necessary to include that in a larger context?
Masson: Well, we use uprising because it’s the most more accessible term in the exhibition and we, you know, we’re focusing really here on an artwork by artists – Palestinian American artist Reggie Cook and with an artwork that was trying to translate the experience of of occupation into what is created. So that’s the context in which we talk about that.
JP: But to ignore what happened during the uprising seems to me to leave out a major part of the context.
Masson: I don’t think that we are ignoring that. This exhibit is not about the full story of what has happened in Palestine, in Israel. It’s not, you know, the scope of this small exhibition. This small exhibition has a scope and the scope was really to create an opportunity and a place for Canadians to be able to encounter Palestinian Canadians and hear their voices.
JP: Given the current mood in the Middle East and the ongoing tensions between Israel and various other actors, the concern among many in the Jewish community that this is going to lead to a heightening of antisemitism and an exhibit like this seems that it it’s not going to do much to improve relations between Jews and Palestinians when it focuses on only one side of the story. How do you respond to that?
Masson: Well, this is only one exhibit of of many, of many stories that we have.
Following is my interview with Isha Khan. Khan began by explaining that she is “the CEO at the Canadian Museum for Human Rights and I’ve been here as CEO of the museum since August of 2020. So almost six years.”
JP: So let’s get right down to discussing (the exhibit). I spoke to the curator. I asked a lot of questions about the exhibit itself. I’m more interested in asking (you) about the general context and the atmosphere in the community. The accusation has been made repeatedly by various leaders of Jewish organizations that you have not been willing to consult on this exhibit. How do you respond to that?
Khan: I think the word consult can mean many things. We have a community engagement practice. So for us that means that depending on the scope of the exhibit and this exhibit is about Palestinian Canadians and their experiences, the impacts of the human rights impacts, of forced displacement, which means we engage with that community as we share their stories. Many folks in the Jewish community will say we haven’t consulted with them and yet we have met with leaders of Jewish organizations from across Canada, main uh, major federations, foundations, local Jewish organization representatives many times to talk about this exhibit, to explain what its scope is, what it’s about, what it’s intended to do, and most importantly, what it isn’t. And unfortunately there continues to be misconceptions about what it is. So we hope people will come and see it.
JP: I think the fear in the community – and I think it’s well founded is that this will foment an increase in antisemitism. Can you understand that concern?
Khan: Absolutely. I personally and any member of our team who’s talked to folks about this has said that we unequivocally share the concern about antisemitism in Canada today. That is part of our mandate. And we will continue to do that work and we can also share these stories of Palestinian Canadians – you know, telling the story of one community’s human rights violation in no way should negate or minimize the experience of another community. That’s what this museum was designed to do….designed to build understanding of shared humanity and that’s what we believe we’re doing responsibly.
JP: Just before I began this interview, I was taken (down to the fourth floor; the Nakba exhibit is on the fifth floor) to see the gallery of other human rights violations. I’m not sure what it’s called. (It’s where there is a ) recitation of various human rights violations, including what happened in 1947 and 1948 (in Palestine). They offer passing reference to the displacement of both Jewish and Palestinian refugees. Would you consider ever having an exhibit about the displacement of Jewish refugees from Arab lands in 1948 and subsequent years?
Khan: We would absolutely consider it and in fact have shared with leaders of the Jewish organizations months ago that yes, these are important stories that need to be told (and) invited them to work constructively with us on developing that content. Unfortunately we didn’t really receive much response.
JP: How long is this exhibit supposed to be on for?
Khan: So this exhibit right now we’re saying is a minimum of two years. That’s because it is an exhibit in a standing gallery and so it also depends on our updating of our other galleries and, you know, exhibits take a bit of time. This one is four years in the making and so we’ve just committed that it’ll be a minimum of two years and we’ll see where things go.
JP: There are a lot of other refugee situations in the world – (for instance) South Sudan, and just this morning I was saying to Isabelle that I received an email about the situation for people from Burundi in the Democratic Republic of the Congo.
I didn’t realize that was a problem. I know that the Congo has had ongoing problems with displacement of populations. It it seems to me it’s not an unlimited number of stories like this you could tell, but there are a lot of others. How do you decide which ones take priority?
Khan: We’re often asked the question of how we decide, and it comes back to how this museum is designed. Each gallery is intended to tell a different story. It has an objective. So this exhibit, Palestine Uprooted, is in our Rights Today gallery. It’s to talk about global human rights issues. And we know that people want to better understand human rights of Palestinians. There’s no question. It’s being talked about, debated, discussed all over the world. And so we’re being responsive there to that need. And we know that Palestinian experiences were under represented in our galleries and have heard that for years. To your point though that there are other stories – the design of this museum is that you ought to be able to feel something, understand something about the forced displacement of one community and apply it to another. So now this story stands along the forced displacement of the Rwanda people, indigenous peoples, Ukrainian people, the Igbo people. You’ve named a number of others that we do need to develop content on over time, but it’s done depending on what gallery it is, what we are trying to invoke…because we’ll never be the encyclopedia of all human rights atrocities in the world. That’s actually why we’re called the Canadian Museum for Human Rights rather than the Canadian Museum of Human Rights.
We’re here to to develop an understanding through the stories that will impact people.
JP: Okay. I want to ask a politically loaded question.
Khan: Okay.
JP: The Jewish population of Canada is at best 450,000. In that range, Jews don’t have the political impact that they used to. At most, there are 12 to 16 ridings where the Jewish vote can make a difference. The Muslim population has grown substantially. It has a much larger political impact. Did that factor in to this exhibit being mounted in any way?
Khan: Absolutely not.
JP: So, I’ll ask the question that I asked the curator of the exhibit. Where did the impetus for this come from? Did it come from Palestinian Canadians?
Khan: The this exhibit came from a recognition, our decision. I hold responsibility ultimately for the decisions made by my team. It was made based on the recognition that Palestinian experiences were under represented in this museum. We absolutely heard from the Palestinian community organizations in Canada and had heard for many years that their stories were underrepresented. Ultimately, the decision was ours. And as we look at this gallery and updating our content, this is ‘rights today’ – global human rights. We know that the world is talking about Palestinian human rights and the stories of Palestinian Canadians naturally belong in our collective memory alongside many other stories that are told here.
JP: There was one particular aspect on one of the panels when I was sent a preview this morning and it referred to the Palestinian uprising from 2000 to 2005 which led to a lot of Israeli deaths that we generally refer to as the Intifada. There’s no mention of Israeli deaths on that panel. Would you agree that might have been an oversight?
Khan: I mean I know that there the factual point is absolutely accurate. The decisions on the curation of the exhibit are not ones that I make, but certainly if that is a concern that we will look at.
Local News
Nakba exhbit at CMHR now open – here’s what it looks like
By BERNIE BELLAN (Posted June 26)The following press release was sent to me early Friday morning June 26 (Photos supplied by Annie Kierans, CMHR) Nothing that follows has been edited. I leave it to you to form your own opinion:
Winnipeg, MB — June 26, 2026 — The Canadian Museum for Human Rights (CMHR) will open a new exhibit tomorrow that explores human rights violations related to the ongoing forced displacement of Palestinian Canadians.
Palestine Uprooted: Nakba Past and Present will be on display in the Rights Today gallery on Level 5 until 2028. Featuring personal stories told through artifacts and video testimonies, the exhibit presents Palestinian Canadians reflecting on their ongoing struggle for human rights. The small exhibit reveals enduring patterns of loss and resilience, helping visitors understand more about this contemporary human rights story.
Palestinian Canadian stories are now included alongside many other stories of forced displacement and human rights violations featured in the Museum’s galleries. Each of these stories contribute to our visitors understanding of human rights and help the Museum fulfill its mandate to foster reflection and dialogue.
Exhibition highlights
Personal stories and artifacts: Experience firsthand accounts from Palestinian Canadians sharing their journeys of displacement and memory through a series of five artifacts. Cases display artifacts like property deeds, house keys, and a traditional Palestinian embroidered dress, accompanied by short videos that deepen understanding of the impacts of displacement.
Powerful artworks: In her painting Bound Together in Gaza, Malak Mattar, a Gazan artist, captures the struggles and resilience of her generation shaped by conflict. Her work pays homage to Guernica, Picasso’s powerful masterpiece depicting civilian suffering during war.
Curfews and Closures, by Rajie Cook, bears witness to life under military occupation during the 2000–2005 Palestinian uprising, when curfews and closures were expanded and further limited basic rights and freedoms.
Cultural heritage: Discover traditional Palestinian embroidery called tatreez. Tatreez motifs and colours are tied to place, family history and regional identity. Patterns are associated with particular towns, villages or areas of Palestine. In this way, tatreez is a form of storytelling: a way of preserving memory, sustaining identity and expressing resilience across displacement and exile.
Poetry and reflection: Engage with Mahmoud Darwish’s evocative verses, inspiring personal reflection on exile, voice, and responsibility. Visitors can take a card containing Darwish’s poem and add a personal note, fostering ongoing dialogue beyond the exhibit.
Contemporary context: Witness striking images of current events in Gaza and the West Bank, connecting past displacement to ongoing struggles.
Quotes:
“No force can silence the truth we carry. Growing up in Canada, my children lived the Nakba through our stories. And now we watch it happen again, live, on our phones. When I see the images coming out of Gaza, I am not watching the news. I am watching my history repeat itself.” -Fouad Sahyoun, a Palestinian Canadian featured in the exhibit
“We developed this exhibit with a clear awareness that Palestinian Canadian voices have too often been marginalized, silenced or spoken over — and that anti-Palestinian racism affects whose stories are heard and whose suffering is recognized. That is why we intentionally centred Palestinian Canadian voices throughout the exhibit.” -Isabelle Masson, Curator of Palestine Uprooted
“Human rights matter precisely when they are inconvenient, when the question of who deserves the dignity of having their rights recognized is genuinely contested. These are the moments where having a national museum for human rights is most important.
There are people who believe this exhibit should not exist in its current form. There are people who believe it should have existed sooner. There are people who will visit this exhibit and feel that it does not say enough, and others who will feel it says too much.
We have listened to every one of these voices. We have reflected. And we have renewed our resolve to continue the difficult, sometimes contested, and often controversial work of building understanding about human rights. We are a museum grounded in Canada’s human rights framework, whose mandate requires us to bear witness to the full complexity of the human story. We are proud to open this exhibit because the story it tells will help achieve that mandate, and because this story belongs in the collective memory of Canadians.”
- – Isha Khan, CEO
Local News
Nakba exhibit at human rights museum set to open despite mounting criticism
By NOAH STRAUSS (posted June 25) The Canadian Museum for Human Rights’ Nakba exhibit is scheduled to open this Saturday, June 27, despite growing criticism and calls for it to be delayed or revised. The exhibit has sparked public debate in Winnipeg and beyond regarding how it presents the history surrounding the creation of the State of Israel.
Earlier this week, Mark Berlin resigned from the museum’s board. In his resignation letter, he expressed concern that the exhibit presents a one-sided narrative and does not adequately address the experiences of Jewish communities affected by the events surrounding Israel’s independence.
The Nakba, an Arabic word meaning “catastrophe,” refers to the displacement of hundreds of thousands of Palestinians during the 1947–1949 conflict that followed the creation of the State of Israel. Critics of the exhibit argue that it focuses primarily on Palestinian displacement without sufficiently acknowledging the broader regional consequences of the period.
Some Jewish advocacy groups also point to the experiences of Jews who left or were expelled from several Arab and Muslim-majority countries in the decades surrounding Israel’s creation. Estimates suggest that between 850,000 and 950,000 Jews left or were displaced from countries including Iraq, Egypt, and Yemen, under a range of circumstances including persecution, expulsion, and confiscation of property.
In his resignation letter, Berlin, a faculty member at McGill University specializing in human rights law, wrote, “Telling the story with a one-sided perspective chosen by the museum serves to deepen division and contributes to further hostility toward Jews in Canada.”
Following his resignation, CIJA President Noah Shack released a statement saying, “The resignation of the museum’s only Jewish board member is a clear indictment of the museum’s handling of the controversial ‘Nakba’ exhibit.”
The exhibit’s VIP opening is expected to include invitations to representatives from all three levels of government. Winnipeg Mayor Scott Gillingham had initially been invited but later declined following discussions with representatives from the Jewish community, including CIJA Manitoba Vice President Gustavo Zentner and Jeff Lieberman, President and CEO of the Jewish Federation of Winnipeg.
Members of Winnipeg’s Jewish community are also planning a peaceful rally outside the museum on Friday at 5 p.m., according to organizers.
The Canadian Museum for Human Rights is expected to release a formal statement ahead of the exhibit’s opening.
(added June 26) To see interviews that Bernie Bellan conducted with Isabelle Masson, curator of the “Palestine Uprooted: Nakba Past and Present” exhibition at the Canadian Museum for Human Rights (CMHR) in Winnipeg and Isha Khan, CEO, CMHR about the exhibit go to curator of exhibit and CEO interviewed
