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A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs.
(J. The Jewish News of Northern California via JTA) — Tucked in the far corner of a large, brightly-lit exhibition hall on the ground floor of the Contemporary Jewish Museum in San Francisco, there is a delicate-looking piece of art with a strong political message.
At first glance, it appears to be three circular vases with flowers in them. The ceramic vases sit on shelves attached to the wall, and colorful collages hang above them. On closer inspection, visitors will notice that the flowers are made out of paper and that affixed to each vase is an image of the Palestinian flag printed on foam board.
A nearby label written by the curators of the exhibit, titled “Tikkun: For the Cosmos, the Community, and Ourselves,” explains that the piece was inspired by a conversation the artist, Tosha Stimage of Berkeley, had with a Palestinian man. He told Stimage about the plants that are native to Palestine — “a place which he can no longer access due to the ongoing conflict in the region,” the curators write.
The label also includes a note about the flag: “Some may find its presence at The CJM troubling or confusing, while others may find it appropriate and forthright. Stimage recognizes the potential for these divergent responses and hopes to use them as a means of generating dialogue.”
On a Sunday afternoon in October, Maury Ostroff read the label and walked away without inspecting the artwork.
Visitors to the “Tikkun” exhibit are encouraged to share their responses to the artwork via comment cards. (Andrew Esensten)
Asked how the presence of the flag made him feel, Ostroff, who is Jewish and lives in Muir Beach, in Marin County, replied, “Unhappy.”
Why?
“It’s not offensive to me in the same way that a swastika is. My skin is a little bit thicker than that. But I wish it weren’t here.”
He added, “What’s so Jewish about this? What’s so ‘tikkun olam’ about all of this?”
For the “Tikkun” exhibit, which opened Feb. 17 and runs through Jan. 8, the CJM invited both Jewish and non-Jewish Bay Area artists to contribute new works on the theme of repair, however they chose to interpret it. “No one is listening to us,” the piece by Stimage, who is not Jewish, is the first work of art featuring the Palestinian flag to be shown at CJM in recent memory; the museum could not say when or if the flag has been displayed on its walls before.
The piece prompted several internal conversations among CJM staff when it was first submitted and, since it has been on display, has generated a variety of responses from museumgoers who have left comments in a box at the entrance to the exhibit. Intentionally or not, Stimage has raised numerous questions with the artwork, including: Does a work of art that is sympathetic to the Palestinian struggle for statehood belong in a Jewish museum? And what is the role of a contemporary Jewish museum, anyway?
“To truly be a contemporary art museum, meaning embedded in the contemporary issues of our day, our job is to provide a platform for dialogue and to share a diversity of perspectives on our walls,” said Chad Coerver, CJM’s executive director since September 2021. “If any institution [like ours] took the path of withholding artwork that troubled our staff, our board or our community, it would be very difficult to mount exhibitions.”
CJM is a member of the Council of American Jewish Museums, a network of 76 museums across the country. CAJM does not have guidelines about the kind of art its member museums can and cannot display, according to Executive Director Melissa Yaverbaum.
J. reached out to several CAJM member museums in New York, Los Angeles and other places by email to ask if they had ever shown artwork with Palestinian iconography or works by Palestinian artists. The museums declined to answer or did not respond.
In recent years, two Jewish museums have been embroiled in controversy over issues relating to the Israeli-Palestinian conflict. The Spertus Institute for Jewish Learning and Leadership in Chicago staged an exhibit in 2008 on Israeli and Palestinian concepts of homeland that included maps and portraits of Palestinians. Following outcry from members of the local Jewish community who felt the exhibit presented Israel in a negative light, the museum decided to close the exhibit after only a few weeks. And in 2019, the director of the Jewish Museum Berlin resigned after the museum tweeted a link to a pro-BDS article in a German newspaper. (The museum previously came under fire for welcoming anti-Zionist scholar Judith Butler and representatives of Iran.)
In a joint interview with J., two CJM staffers who worked on “Tikkun” — co-curator Qianjin Montoya, who is not Jewish, and a Jewish senior curator who served in an advisory role, Heidi Rabben — shared the story of how Stimage’s piece came to be in the exhibit. (Montoya’s co-curator for the exhibit, Arianne Gelardin, no longer works at the museum.)
Since 2009, CJM has invited local artists from different backgrounds to create new work as part of the museum’s annual Dorothy Saxe Invitational. The idea for “Tikkun” was hatched before the pandemic put the planning process on hold. Once the CJM and Saxe — a local philanthropist and art collector — agreed on the theme, the co-curators invited artists “already engaged in healing through their relationship to community or in their practice of daily life,” Gelardin told J. last February.
The 30 artists who accepted the museum’s invitation were given only four months to conceive of and submit new works. That was likely the shortest timeline in the history of the invitational, which has been held 11 previous times, according to the museum. Each artist received a packet of materials compiled by CJM staff, with input from the Shalom Hartman Institute, a non-degree granting Jewish education center, to guide their thinking on “tikkun.”
Stimage was invited to participate because she is “very active” in the Bay Area and because “her work reflects ideas of community and connection,” Montoya said.
The curators said Stimage’s inclusion of the Palestinian flag in her submitted piece came as a surprise and prompted challenging conversations. However, they noted that they found the content of some of the other artists’ work surprising, too, and that it’s not unusual for contemporary artists to push the envelope in their work.
“I wouldn’t say we expected to receive a piece about the Israeli-Palestinian conflict, but we weren’t steering anyone away from that, either,” Rabben told J., adding that the submission guidelines did not place any topic off limits. “That’s a commitment from the museum to authentically represent the creative spirit of the artists that we’re working with,” she said.
Still, the curators said they engaged in a dialogue with Stimage in order to better understand each aspect of her piece and her overall intentions. Through those conversations, the curators learned that Stimage wanted to explore a moment of “rupture,” and that through her piece she hoped to communicate “that before healing or repair might happen, you have to first acknowledge that rupture,” Rabben said.
The Contemporary Jewish Museum in San Francisco is showing “Tikkun,” an exhibit of works by Jewish and non-Jewish artists on the theme of repair. (Andrew Esensten)
Coerver, who was involved in some of the conversations, stressed that “careful consideration” was given to including the piece in the exhibit. “We felt an artwork addressing the plight of the Palestinians was appropriate in an exhibition on healing and repair,” he said. (No work submitted as part of the Dorothy Saxe Invitational has ever been outright rejected, the museum said.)
Stimage did not respond to interview requests from J. According to a CV on her website, she was born in Jackson, Mississippi, and earned an MFA from California College of the Arts in 2016. She is a past fellow at the Yerba Buena Center for the Arts in San Francisco and was an artist-in-residence at Facebook in 2018. She also owns a floral gift shop in Oakland called Saint Flora.
Her work often touches on Black identity; she created a piece honoring Sandra Bland, an African-American woman whose 2015 arrest and death in a Texas jail cell sparked protests, and contributed to a 2019 San Francisco Art Institute exhibit on the Black Panther Party.
“I have a responsibility to create things that will, to the best of my present knowledge, do more good than harm, heal, inspire and uplift other humans,” she told the San Francisco Bay View National Black Newspaper in 2015.
Stimage’s precise views on Israel are unknown. CJM referred J. to her artist statement for “No one is listening to us,” which reads: “Olive, sage, and sumac are flowering plants native to the Mediterranean (including regions of Gaza and the West Bank) that have a direct relationship to contested ancestral land and affect the livelihood of so many Palestinian farmers and families caught in the conflict. They are positioned in the space of The Contemporary Jewish Museum as a metaphor for the ongoing conflict over land rights and the desperate need for restoration and healing of an age-old wound.”
The curators told J. that during their conversations with Stimage about her piece, they asked her why including images of the Palestinian flag was important to her but did not request that she remove them.
“We determined that none of [the piece’s] components in and of themselves signified something problematic or concerning,” Rabben said. “Of course, we had the awareness that the symbol [of the flag] will be read in a variety of ways by a variety of people.”
(Rabben pointed out that the exhibit includes other works with national symbols rendered in provocative ways, such as a black-and-white photograph of an American flag that was torn apart and partially reassembled by Mexican-American artist Jose Arias.)
The Palestinian flag — which contains the Pan-Arab colors of black, white, green and red — was adopted by the Palestine Liberation Organization in 1964. Since then, it has been the primary symbol of Palestinian nationalism.
For decades, the PLO was considered an enemy organization by Israel, and anything associated with it “had no place in Israeli public life,” said Eran Kaplan, an Israeli-born professor of Israel studies at San Francisco State University. Israel never went so far as to ban the flag. However, during the First Intifada, which lasted from 1987 to 1993, Israeli soldiers sometimes followed orders to confiscate the flag from protesters in the West Bank and Gaza.
With the signing of the Oslo Accord in 1993, Israel and the PLO recognized each other as negotiating partners. Yet the Palestinian flag remains a contentious symbol in Israel today. Kaplan noted that it recently served as a flashpoint during the funeral procession of Shireen Abu Akleh, the Palestinian American broadcaster who was killed in the West Bank in May. (The IDF conducted a review and admitted that the Israeli soldier who shot her had most likely misidentified her as an armed militant.) After warning Abu Akleh’s family not to display the flag, Israeli police attacked mourners in East Jerusalem, ripping flags out of their hands and off of the vehicle carrying her casket.
Today, the flag holds different meanings for Israelis and American Jews from different generations and political persuasions.
“There are large segments in Israeli society who view any form of Palestinian national identity as a threat to the existence of Israel,” Kaplan said. “There are others who view the PLO as legitimate partners in any form of negotiations [over the creation of a Palestinian state], but there’s an absolute split over those questions.”
Given the sensitive nature of Stimage’s work and others in the exhibit, the curators decided to solicit feedback from visitors via comment cards available at the entrance to the hall. Rabben said the museum has received a number of comments specifically about “No one is listening to us,” most of which were positive. “The majority of those comments were ‘Thank you for offering space for this topic at the museum,’” she said.
Last month, a security guard sitting in the “Tikkun” exhibition hall told a reporter that he had not witnessed any expressions of outrage or protest through the first nine months of the exhibit. “When we opened we were afraid of negative reactions, but they’re not stressed about it,” he said of visitors. “We have shown worse things here.” The guard, who has worked at the museum since it opened in 2008, mentioned a 2010 exhibit, “Our Struggle: Responding to Mein Kampf,” which included a copy of Hitler’s autobiography. “Some people were cussing us out” for displaying the book, he recalled.
Meanwhile, on the same floor as “Tikkun,” there is another, smaller exhibit containing potentially offensive art. A sign outside of the room warns visitors that inside is a Hitler marionette created by the parents of puppeteer Frank Oz. “Our intention in displaying this object is to keep the memory of the Holocaust alive through the objects and firsthand stories of those who experienced its persecution, and to encourage conversation and education about the ongoing horrors of antisemitism and authoritarianism today,” the sign says.
Coerver, CJM’s executive director, said he was proud that the museum’s three current exhibits — “Tikkun,” “Oz is for Oznowicz: A Puppet Family’s History” and “Gillian Laub: Family Matters,” which includes photographs that Laub took of her Trump-supporting relatives — are raising “challenging questions” and providing opportunities for both visitors and museum staff to “expand our horizons.”
“We’ve been wading into some issues that I think are a little thicker than maybe we’ve been confronting in the past,” he said, “and I hope that continues.”
A version of this piece originally ran in J. The Jewish News of Northern California, and is reprinted with permission.
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The post A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs. appeared first on Jewish Telegraphic Agency.
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How to face life’s difficulties with total confidence
ווי אַזוי קען מען זיך באַוואָרענען פֿון ווערן פּאַראַליזירט ווען מען שטייט פֿאַר אַ סיטואַציע וואָס זעט אויס ווי אַ געפֿאַר?
דער ענטפֿער איז זייער פּשוט: מען דאַרף באַטראַכטן די סיטואַציע ווי אַ פֿאַרמעסט, אַנשטאָט ווי אַ באַדראָונג.
אָבער ווי אַזוי קען מען דערגרייכן אַזאַ ענדערונג פֿונעם קוקווינקל, אַז אַנשטאָט זיך צו פֿילן דערדריקט און אַנטמוטיקט, זאָל מען זיך פֿילן געשטאַרקט און מאָטיווירט?
צו דעם דאַרף מען צוויי זאַכן: ערשטנס, זיך פֿאָרשטעלן דעם רעזולטאַט וואָס מען וועט האָבן ווען מען וועט איבערקומען די שוועריקייט, און צווייטנס, זיך געהעריק צוגרייטן, כּדי צו קענען מצליח זײַן אין איבערקומען די אַרויספֿאָדערונגען.
אין דער פּרשה די וואָך, ויצא, לייענען מיר ווי יעקבֿ אָבינו איז אַרויס פֿון זײַן טאַטנס הויז אין באר־שבֿע, און זיך געלאָזט אין וועג קיין חרן, צום הויז פֿון זײַן זיידן פֿון דער מאַמעס צד, בתואל. ער האָט דאָס געמוזט טאָן ווײַל ער האָט געוווּסט אַז זײַן ברודער עשׂו וויל אים הרגענען. יעקבֿ, נישט עשׂו, האָט דאָך באַקומען די ברכות פֿון זייער טאַטן יצחק.
ס׳איז אָבער דאָ אַ צווייטע סיבה פֿאַר יעקבֿס נסיעה. ער האָט געדאַרפֿט זוכן אַ שידוך, ווײַל זײַנע עלטערן זענען נישט געווען צופֿרידן מיטן אויפֿפֿיר פֿון די פֿרויען און מיידלעך אין כּנען.
לאָמיר זיך אַרײַנשטעלן אין זײַן מצבֿ. דאָס לעבן אין באר־שבֿע איז פֿאַר יעקבֿן געווען רויִק און באַקוועם. ער האָט געוווינט בײַ זײַנע עלטערן; זײַענדיק אַ בחור האָט ער ניט געהאַט קיין באַזונדערע דאגות, און האָט געקענט זיך אָפּגעבן מיט לימוד התּורה און פּערזענלעכער אַנטוויקלונג. און פּלוצלינג, האָט ער געמוזט אַנטלויפֿן פֿון דעם באַקוועמען און באַשיצטן מצבֿ, און זיך אַרויסלאָזן אויף אַ וועג צו אַן אָרט וואָס איז געווען פֿול מיט שוועריקייטן און סכּנות.
חז״ל דערקלערן אַז דער נאָמען פֿון דעם שטאָט חרן, וווּהין ער איז געגאַנגען, איז פֿאַרבונדן מיטן וואָרט „חרון אף“, וואָס מיינט כּעס, ווײַל דער אויפֿפֿיר פֿון די אײַנוווינער האָט אַרויסגערופֿן דעם כּעס פֿונעם אויבערשטן.
דערצו איז זײַן פֿעטער לבֿן, וואָס האָט געוווינט מיט בתואל, געווען באַרימט מיט זײַן אומערלעכקייט.
קענען מיר זיך פֿאָרשטעלן אַ גרעסערן קאָנטראַסט צווישן דער רויִקייט פֿון זײַן היימישער סבֿיבֿה און דעם שווערן מצבֿ וואָס האָט אים דערוואַרט אין זײַן נײַעם אָרט?
אָן קיין ספֿק האָט ער מסתּמא געפֿילט אַנגסטן, אומזיכערקייט און הילפֿלאָזיקייט.
די תּורה באַשרײַבט ווי יעקבֿ האָט אויפֿן וועג זיך אָפּגעשטעלט דאַווענען, און ווי ער האָט גענומען שטיינער כּדי זיך צו באַשיצן פֿון ווילדע חיות בשעת ער האָט זיך געלייגט שלאָפֿן אויפֿן וועג.
אין זײַן חלום האָט יעקבֿ געזען אַ לייטער וואָס איז געשטאַנען אויף דער ערד, און זײַן שפּיץ האָט דערגרייכט ביזן הימל. ער האָט געזען מלאכים אַרויפֿגיין און אַראָפּגיין אויפֿן לייטער.
דער אייבערשטער האָט צו אים גערעדט און צוגעזאָגט אים צו באַשיצן. ער האָט איבערגעחזרט זײַן הבֿטחה צו געבן זײַנע קינדער דאָס לאַנד אויף וועלכן ער איז געלעגן. דערצו האָט ער אים געבענטשט מיט אַ גרויסער און חשובֿער נאָכקומערשאַפֿט, סײַ אין כּמות און סײַ אין איכות.
ווען יעקבֿ האָט זיך אויפֿגעוועקט פֿון זײַן חלום, האָט ער געמאַכט אַ נדר: אויב דער אויבערשטער וועט אים באַגלייטן, אים געבן ברויט צו עסן און קליידער אָנצוטאָן, און ער וועט קענען צוריקקומען צום הויז פֿון זײַן טאַטן מיט זײַן רוחניותדיקער און מאָראַלישער שלימות, וועט ער אויפֿשטעלן אַ הייליקן אָרט לכּבֿוד דעם אויבערשטן און אָפּגעבן מעשר פֿון אַלץ וואָס ער פֿאַרמאָגט. אָפּגעבן מעשׂר — אַוועקגעבן אַ צענטל פֿון דײַן פֿאַרמעגן אויף צדקה — איז אַ גרויסע מיצווה.
גלײַך דערנאָך דערציילט אונדז די תּורה: וַיִּשָּׂא יַעֲקֹב רַגְלָיו וַיֵּלֶךְ אַרְצָה בְנֵי קֶדֶם. „יעקבֿ האָט אויפֿגעהויבן זײַנע פֿיס און איז געגאַנגען צום לאַנד פֿון די מענטשן אין מזרח.“
רש״י דערקלערט אַז דער אויסערגעוויינטלעכער אויסדרוק, „וישא יעקב רגליו“, ווײַזט אָן אַז יעקבֿס פֿיס זענען געוואָרן אַ סך לײַכטער, ווײַל זײַן האַרץ איז געוואָרן פֿריילעך נאָך דער הבֿטחה פֿון דער געטלעכער שמירה. יעקבֿ האָט נישט געמיינט אַז דאָס וואָס דערוואַרט אים וועט זײַן גרינג. ער האָט אָבער געהאַט בטחון אַז ער וועט מצליח זײַן. מיט אָט דער זיכערקייט האָט ער געפֿילט אַז ער האָט די כּוחות צו קענען בײַשטיין און איבערקומען יעדע שוועריקייט וואָס האָט אים דערוואַרט.
די הבֿטחה פֿונעם אויבערשטן אַליין איז אָבער נישט געווען גענוג. ער האָט זיך אויך געדאַרפֿט געהעריק צוגרייטן צו דעם וואָס האָט אים דערוואַרט.
דרײַ יסודות פֿון אָט דער צוגרייטונג ווערן אָנגעדײַט אין די דרײַ באַדינגונגען וואָס יעקבֿ האָט דערמאָנט אין זײַן נדר: עסן; קליידער, און צוריקקומען צום טאַטנס הויז אין דעם זעלבן רוחניותדיקן און מאָראַלישן מצבֿ.
אין צוגאָב צו דעם פּשוטן זין, ליגט אין די ווערטער אויך אַ גײַסטישן באַדײַט:
עסן גיט דעם מענטש חיות און גיט אים אַרײַן כּוח. אויף אַ רוחניותדיקן אופֿן ווערט די תּורה פֿאַרגליכן צו עסן, ווײַל דורך לימוד התּורה דערנערט מען זיך אינטעלעקטועל און רוחניותדיק צום אייבערשטן. פּונקט ווי דאָס גשמיותדיקע עסן ווערט פֿאַרדייט און ווערט אַ טייל פֿון דעם מענטש אַליין, און גיט אים חיות און כּוח, אַזוי אויך ווערט די תּורה וואָס מען לערנט אַ טייל פֿון אונדזער אינערלעכן לעבן און גיט אונדז רוחניותדיקע חיות.
קליידער נעמען אַרום דעם מענטש און באַשיצן אים פֿון דרויסנדיקע השפּעות. אַזוי אויך ווען אַ ייִד איז מקיים די מיצוות שאַפֿן זיי, די מיצוות, אַ רוחניותדיקע באַשיצונג פֿונעם מענטשן.
דער לערנונג איז גילטיק אויך פֿאַר אונדז הײַנט.
כּדי צו קענען זיך שטעלן אַנטקעגן די שוועריקייטן פֿון לעבן מיט בטחון און שׂימחה, דאַרף מען זיך צוגרייטן דורך דרײַ זאַכן: ערשטנס, לימוד התּורה — דאָס שטאַרקט אונדז פֿון אינעווייניק און גיט אונדז רוחניותדיקע חיות און כּוחות. צווייטנס, מקיים זײַן די מצוות: דאָס באַשיצט אונדז פֿון דרויסן און גיט אונדז די נויטיקע רוחניותדיקע שמירה, און דריטנס, נישט פֿאַרלירן פֿון די אויגן דעם ענדגילטיקן ציל: דורך אונדזער באַגעגעניש מיט דער גשמיותדיקער וועלט פֿאַרוואַנדלען מיר די וועלט אין אַ „וווינאָרט“ פֿאַרן אויבערשטן, אַ „דירה בתּחתונים“.
דאָס איז דער טיפֿערער באַדײַט פֿון „צוריק קומען צום טאַטנס הויז“: צו ברענגען די גאַנצע וועלט צו אַ מצבֿ וווּ עס ווערט דערקענט אַז זי איז דעם טאַטנס – דעם אויבערשטנס — וווינאָרט. אַז יעדער באַגעגעניש און יעדע פֿאַרבינדונג מיט דער וועלט זאָל אויסדריקן דעם געטלעכן מקור, דעם געטלעכן בײַזײַן און דעם געטלעכן ציל פֿון זיין וועזן.
אַז מען פֿאַרשטייט קלאָר וואָס דער ציל איז, און מען גרייט זיך צו ווי געהעריק, איז מען אין אַ בעסערן צושטאַנד צו קענען אַנטקעגנגיין יעדע שוועריקייט מיט מוט און זיכערקייט.
ווי דער באַרימטער פּסיכיאַטער וויקטאָר פֿראַנקל האָט עס אַזוי שיין און טיפֿזיניק אויסגעדריקט:
„ווער עס האָט אַ ׳פֿאַרוואָס׳ אינעם לעבן, קען איבערקומען כּמעט יעדן ׳ווי אַזוי׳.“
The post How to face life’s difficulties with total confidence appeared first on The Forward.
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Boston suburb votes to divest from Israel
(JTA) — SOMERVILLE, Mass. — The City Council in this city north of Boston voted 10-1 Thursday night to ban the municipality from doing business with companies complicit in humanitarian violations, specifically naming those operating in “Israel and Palestine.”
Councilor Kristen Strezo cast the only opposing vote on the 11-member board.
Opponents of the ordinance fear that in execution it would be akin to a boycott of Israel, and as such would create a negative environment for the city’s Jewish and Israeli residents. The ban only involves companies that work with the municipality and does not impact companies that operate privately in Somerville. It also excludes sole proprietors (individuals operating as companies).
Somerville Mayor Jake Wilson’s office said given that the ordinance passed with a veto-proof majority, the measure is now considered final.
The ordinance was originally introduced in June by Councilors Ben Ewen-Campen and Ben Wheeler, after the City Council voted in November 2025 to implement ballot Question 3 on Israel divestment, which had been approved by 55.7% of voters earlier that month. Question 3 spoke of banning businesses that sustain “Israel’s apartheid, genocide, and illegal occupation of Palestine.”
During his campaign in 2025, Wilson did not endorse Question 3.
Nine councilors on Thursday night offered comments in advance of the vote.
Ewen-Campen, who wrote and revised the ordinance along with Wheeler, spoke about the importance of a Massachusetts city passing an ordinance about a country across the world, especially at a time when the federal government has clamped down on pro-Palestinian student protesters, noting two incidents of protesters being detained by ICE allegedly for speaking against Israel.
“I think the reason that people want us to be quiet about it is because when you do talk about it, there is just no way to justify it,” Ewen-Campen said.
“I am not under any illusion that Somerville is going to have some enormous impact on the world [by passing this ordinance], but I do think that all of us collectively deciding to be silent about this does have an impact on the world,” he said. “That is why I think it is worth it to have taken this action, and that is why I have asked for all of your support tonight.”
Strezo invoked the Holocaust to explain why she considered the ban antisemitic, referring to Kristallnacht, the Nov. 9-10, 1938, pogrom against Jews in Germany and Austria.
“A few years before Kristallnacht, the Nazis worked to deter the public from shopping at Jewish businesses,” she said. “Their efforts started in moments like tonight.” On behalf of her Jewish community, Strezo emphasized that the ordinance “makes us feel targeted. It makes us feel unsafe. It makes us feel unwelcome.”
As she spoke, members of the group Somerville for Palestine (S4P), who had gathered outside City Hall for a rally in advance of and throughout the meeting, could be heard through the window, the chanting getting increasingly louder until the words were clearly audible over Strezo’s speech: “Disclose, divest, we will not stop, we will not rest.”
“This ordinance will do nothing to solve the real conflict in the Middle East,” Strezo said. “What it will do and has been doing is make Jewish people and Israelis feel less welcome in our city spaces.”
One councilor pointed out that the ordinance, while worth passing, was not what she’d hoped. Councilor Emily Hardt said, “Supporting Palestinian human rights and standing firmly against antisemitism are not contradictory positions. I believe that both are essential to our commitment to human dignity.” She went on to say that she would have preferred an ordinance that was focused on the actions of the U.S. government, “our government,” but given that this was the ordinance up for the vote, she would support it. “I appreciate the attempts to align use of our resources with our commitments to the rights and dignity of all people, in Israel and Palestine and around the world,” she said.
When the vote was finalized, members of the group Somerville for Palestine and other supporters of the ordinance, many wearing keffiyehs, stood up and cheered as they left the chamber. Shalom Somerville members and others opposing the ordinance, many of whom wore white shirts with blue square pins and had stickers with “I’m not welcome here” on their chests, stood silently as most of the room emptied.
“It’s disappointing seeing councilors knowingly abdicating their responsibility,” said Sam Gechter, president of Shalom Somerville, the local community group that has been active in opposing both the 2025 ballot question and the ordinance. “[Mayor Wilson] made several promises that he would veto it during the campaign. He said he would veto anything that named a country, so we would love to see him do that.”
“It feels so clear that this is what the majority want given that ten of our councilors voted yes,” said Mo Katz-Christy, a member of S4P’s leadership and Jewish Caucus. S4P was a major advocate for the original ballot Question 3 and worked with Councilor Ewen-Campen on the ordinance.
“They passed a strong ordinance that named Israel and Palestine, that named the genocide,” Katz-Christy said, as the S4P group played music in celebration behind them. “It’s targeting companies that are really bad actors.”
Under the ordinance, any vendor who is submitting a bid for the city’s business would have to certify it meets the criteria outlined in the ordinance. If their certification is contested, the city will consult the findings of a number of international organizations and lists, including the database of business enterprises maintained by the United Nations Office of the High Commissioner for Human Rights, and the divestment short-list database maintained by the American Friends Service Committee’s Investigate Project. The ordinance specifies that a company could be excluded from this prohibition should the director of finance deem that their services “are essential to the operation of the city, including by avoiding a significant financial burden.”
In the final Legislative Matters Committee meeting discussing the ordinance on Oct. 27, chief procurement officer Angela Allen, echoing the earlier sentiments of City Solicitor Cindy Amara, expressed concerns that the ordinance “would likely not sustain a legal challenge.” She noted that the city does not have the legal authority to debar bidders (prospective vendors) and that she was unsure who would be responsible for making the final call on whether or not a company met the criteria in the ordinance.
“This adds another layer of complexity that I am concerned, from a practical standpoint, could cause confusion and delay that would not be in the best interest of the city,” she said.
The vote came after several rounds of negotiations in the city’s Legislative Matters Committee, during which councilors debated the ethical and financial merits of the ordinance. The final ordinance that was voted on included updates in language that specified the companies that would be included in the ban must be “directly, knowingly and consistently” enabling or facilitating violations of humanitarian law, including in “Israel and Palestine.”
Longtime Somerville resident and Shalom Somerville member Kate Auspitz, who was present at the meeting, said, “I will never vote for any of them [city councilors] again except for Kristen Strezo… I do think it’s antisemitic, whatever they say. I think it’s denying Jews self-determination.”
Outside, in line to enter the City Council chambers, Willie Burnley Jr., a member of Boston Democratic Socialists of America who ran for mayor against Wilson last year and supported ballot Question 3, said: “I’m here to support my neighbors who are fighting for a better world, who are trying to get their city councilors to fight for the will of the people.”
This article originally appeared on JTA.org.
The post Boston suburb votes to divest from Israel appeared first on The Forward.
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House Democratic leader Hakeem Jeffries calls for ‘dramatic change’ in Israel policy
(JTA) — U.S. House of Representatives Minority Leader Hakeem Jeffries, a New York Democrat poised to become the chamber’s speaker in January, called for a significant shift in the U.S.-Israel relationship but stopped short of opposing defense partnerships.
“The status quo is unacceptable, and we need dramatic change,” Jeffries told reporters at a Thursday press conference.
Jeffries expressed a need for such change with respect to the West Bank, to Gaza and to a memorandum of understanding with Israel over military aid set to expire in 2028. That agreement, signed by the Obama administration in 2016, pledged $38 billion in military aid for Israel from fiscal years 2019 through 2028.
President Donald Trump has said he will wind the aid down before it is set to lapse, citing Israel’s unpopularity, and Israeli Prime Minister Benjamin Netanyahu also backs ending military aid and replacing it by strengthening U.S.-Israel military cooperation.
But when asked about recent demands from Sen. Chris Van Hollen to remove provisions on defense collaborations with Israel from the National Defense Authorization Act – the model of what Netanyahu hopes to sustain – Jeffries responded that he hadn’t spoken with the senator. Van Hollen, a Democrat from Maryland, plans to challenge Senate Minority Leader Chuck Schumer leadership of the Senate Democratic caucus when Democrats take over the chamber in January.
Instead, Jeffries said that “things have to dramatically change over in the Middle East,” without elaborating on the details of such changes. He stressed the importance of ensuring “a safe and secure Israel living side by side as a Jewish and democratic state with an independent Palestinian state that provides dignity and self-determination for the Palestinian people.” Netanyahu and much of the Israeli public oppose the establishment of a Palestinian state.
While Jeffries noted that he wasn’t saying anything he hasn’t “previously said publicly,” his decision to reiterate this need for change following the election as Democrats are set to seize control of Congress demonstrates how the party is adopting a more critical posture on Israel.
This past summer, Jeffries wrote to colleagues urging them to reject an amendment proposed by Rep. Thomas Massie, a Republican from Kentucky, that would have cut military aid to Israel. While a slight majority of Democrats voted in favor of the measure, it was defeated after getting no Republican support aside from its sponsor.
Jeffries had argued at the time that “there are more decisive ways to achieve the urgent change necessary when it comes to the far-right Netanyahu government,” warning that Massie’s amendment would have restricted Israel’s ability to confront Hamas, Hezbollah and other terror groups.
Nonetheless, Jeffries also noted in the letter that the Obama-era memorandum of understanding “expires imminently,” and that “a meaningful change in direction is needed.” Writing that Israel has a robust economy and is capable of paying for its own weapons, he said that future security arrangements “should be structured consistently with defense agreements that exist with our other Western allies.”
Since writing that letter in July in the lead-up to the midterm elections, Jeffries focused primarily on domestic issues and didn’t often address the Israeli-Palestinian conflict. On Thursday, however, the topic was back on the table.
“We’ll work as a caucus to make sure that we can bring about the just and lasting peace that Israelis and Palestinians deserve,” Jeffries said.
This article originally appeared on JTA.org.
The post House Democratic leader Hakeem Jeffries calls for ‘dramatic change’ in Israel policy appeared first on The Forward.
