Local News
The CJN (Canadian Jewish News) responds to accusations by Jewish National Fund Canada that it has been unfair in its reporting on JNF Canada’s problems with the CRA
Back in August we printed a story titled “A detailed look at the awful predicament in which JNF Canada now finds itself since the CRA revoked its charitable status.” A large part of that story was taken from reporting done by Ellin Bessner for the CJN (Canadian Jewish News). Since then we have been asked by Bessner to give the CJN’s side of the story.
At the time we printed that story, and even up until the CJN approached us on Nov. 22, jewishpostandnews.ca did not contact the CJN for comment on JNF Canada’s’ accusations about their reporting. We regret our own lack of journalistic standards and have since removed that story from our website.
On November 22, we received an email from The CJN’s Bessner. She had come across the article we had on our website and reached out to us.
Bessner insisted that JNF Canada’s claims about The CJN’s reporting on the CRA story are false. Bessner adds that JNF Canada’s claim that the CJN never asked them for their views is also not true..
Following is Ellin Besser’s view of what happened between JNF Canada and the CJN:
After their Aug. 10 revocation, The CJN contacted the JNF to ask for an interview. They agreed to talk to The CJN, but asked us to wait to do the interview until Aug. 16, a full six days after the CRA revoked their charitable status. We waited because we wanted to give JNF enough time to speak to us fully. Also, there was Tisha B’av on Monday Aug. 12 so JNF’s staff was not available.
As JNF well knows, and the public knows because we put it into our reporting, The CJN team of Bessner and Jonathan Rothman conducted an hour-long, videotaped interview with JNF CEO Lance Davis by ZOOM, on Aug. 16. We even made sure that Davis made his own audio recording of the interview on his personal phone.
While other news organizations were quick off the mark after Aug. 10 to publish a JNF revocation story, these other outlets did not conduct a full journalistic investigation, and published only JNF’s side.
While waiting for our interview, we continued our reporting. We knew that under the Income Tax Act’s privacy rules, the CRA never comments on cases while the audits and negotiations are underway. In fact, by law, the CRA cannot divulge anything about its audit process to the public, until after a charity is revoked. Then, the public can ask for the CRA’s internal documents concerning the reasons why a charity was revoked. So we asked.
On Aug. 15, the day before our scheduled JNF interview, the CRA released to us 358 pages of internal documents regarding its dealings with JNF, including some documents dating back to 1967, when JNF Canada was officially granted charitable status in Canada.
No other news outlet in the world received the documents at this time; The CJN was the first. Our team read all the 358 pages the night before our interview.
During our interview with Lance Davis the next day, we told him that we had the CRA’s documents. During the interview, we went through the issues which the CRA documents had raised.
It was obvious that Davis had prepared talking points for his interview, as we had sent him the questions in advance, which they had requested. He was reading off another computer screen. Davis answered all our questions, including a list of issues raised in the CRA documents.
These ranged from missing paperwork, lack of oversight and direction, why documents were not provided in English or French but in Hebrew, why they were not kept in Canada but in Israel, why in-house travel expenses were not receipted the way CRA needed, why the donations to JNF from Canada went not to buying trees at all, until 2017, but to paying labour costs for workers in Israel.
We went back and forth with the JNF team over the next ten days by email, as we fact-checked issues. They also acknowledged this. They answered our fact-checking questions. We told them when our stories would likely be coming out, and we told them there would be print stories and a podcast or two.
In the meantime, to get our story as complete as possible, we consulted with financial experts and charity experts, with JNF donors and with our lawyers.
It became apparent that JNF was extremely careful about who we spoke to, as we learned they had vetted what one of the donor interviewees told us: JNF’s p.r. person told me he had heard the raw tape of our interview shortly after we had hung up after we conducted it, but long before it was published.
Only after all CJN’s due diligence, which was a full sixteen days after JNF’s revocation, did we publish our series of stories.
On the evening of Aug. 26, we reported on the contents of the CRA allegations, linking to the CRA documents, and that same evening, we also released our podcast containing JNF’s Davis’ interview. We also ran a lengthy print story early the next morning, again quoting Davis extensively.
The following day we ran another podcast with some donors’ views, and more JNF arguments.
Here are all the stories and articles which The CJN has published on the CRA/JNF story. https://thecjn.ca/news/jnf-canada/
JNF has been spinning things to attack our reporting, because they assume few people actually took the time to read The CJN’s work.
JNF is saying it was “blindsided” by the CRA’s revocation. But the truth is, and the documents which CRA released (and later JNF released and JNF told us) show JNF has been secretive about its own legal communications with the CRA dating back to 1967, and through four subsequent CRA audits. They received an amnesty from the new Revenue Minister in the 1990s.
The fifth audit, started in 2014 and has been the source of the agency’s latest problem over the last 10 years.
Unlike the CRA, JNF was always able to publicly release their legal communications and letters back and forth with CRA. They did not do this back in 1989, when they were told they were not in compliance. They did not do so in August 2019, when they received the official Notice of Intention to Revoke, from when the clock to revocation started ticking. And they did not do so in June 2023, even after JNF received a letter saying the NITR notice was confirmed.
Even during our interview, JNF did not disclose it had its own documents that could better show the context of its challenges dealing with the CRA. JNF chose to release these only in September on their website. But they selectively released a document here and there to a “friendly” columnist for the National Post. These documents would have shown the fact that JNF’s detractors in the anti-Zionist advocacy world of Independent Jewish Voices, had their letter writing campaigns and media statements and briefing reports taken into consideration by CRA communications staff.
JNF also did not disclose on its website their annual audit documents for the years between 2018 and 2023, where the auditors’ reports stated the CRA had informed JNF it was going to lose its charitable status.
This is a lack of transparency on JNF’s part, thus hiding this knowledge from their donors, supporters, and the wider public. They also did not file these with the CRA, as they were legally required to do.
Only after our stories came out, did JNF upload the missing paperwork to its own website and posted on the CRA’s.
Two things can be true at the same time: JNF was facing compliance problems with CRA rules for years and hid this from its donors and the Canadian public and JNF acknowledged to us and to the CRA that it wanted to keep this issue quiet.
It is also possible that JNF was treated unfairly by the CRA, who may have been influenced by anti-Israel groups, or anti-Israel staff. The CRA denies this, but only time and Access to Information requests for Cabinet documents and internal CRA communications will tell.
During the pandemic, JNF had requested and obtained some documents from the CRA through access to information requests, showing internal reports that outline the media campaigns/internal pressure on the department from anti-JNF groups including Independent Jewish Voices, who wanted to have the charity shut down.
JNF could have released these important documents to the CJN and to the wider public immediately, but chose not to do so. We only found them on the JNF website, in September. And we reported on this, too.
Likely this will all be decided by the Federal Court of Appeal.
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?
Isabell
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. Um there’s no mention of Israeli deaths on that panel. Would you agree that 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
