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Biden plan to combat antisemitism demands reforms across the executive branch and beyond
WASHINGTON (JTA) — President Joe Biden unveiled a multifaceted and broad strategy to combat antisemitism in the United States that reaches from basketball courts to farming communities, from college campuses to police departments.
“We must say clearly and forcefully that antisemitism and all forms of hate and violence have no place in America,” Biden said in a prerecorded video. “Silence is complicity.”
The 60-page document and its list of more than 100 recommendations stretches across the government, requiring reforms in virtually every sector of the executive branch within a year. It was formulated after consultations with over a thousand experts, and covers a range of tactics, from increased security funding to a range of educational efforts.
The plan has been in the works since December, and the White House has consulted with large Jewish organizations throughout the process. The finished document embraces proposals that large Jewish organizations have long advocated, as well as initiatives that pleasantly surprised Jewish organizational leaders, most of whom praised it upon its release.
Among the proposals that Jewish leaders have called for were recommendations to streamline reporting of hate crimes across local, state and federal law enforcement agencies, which will enable the government to accurately assess the breadth of hate crimes. The proposal also recommends that Congress double the funds available to nonprofits for security measures, from $180 million to $360 million.
One proposal that, if enacted, could be particularly far-reaching — and controversial — is a call for Congress to pass “fundamental reforms” to a provision that shields social media platforms from liability for the content users post on their sites. The plan says social media companies should have a “zero tolerance policy for hate speech on their platforms.”
In addition, the plan calls for action in partnership with a range of government agencies and private entities. It says the government will work with professional sports leagues to educate fans about antisemitism and hold athletes accountable for it, following instances of antisemitic speech by figures such as NBA star Kyrie Irving or NFL player DeSean Jackson.
The government will also partner with rural museums and libraries to educate their visitors about Jewish heritage and antisemitism. And the plan includes actions to be taken by a number of cabinet departments, from the Department of Veterans Affairs to the USDA.
“It’s really producing a whole-of-government approach that stretches from what you might consider the obvious things like more [security] grants and more resources for the Justice Department and the FBI,” said Nathan Diament, the Washington director of the Orthodox Union. “But it stretches all the way across things that the Department of Labor and the Small Business Administration can do with regard to educating about antisemitism, that the National Endowment of the Humanities and the President’s Council on Sports and Fitness can do with regard to the institutions that they deal with.”
An array of Jewish organizations from the left to the center-right echoed those sentiments in welcoming the plan with enthusiasm, marking a change from recent weeks in which they had been split over how the plan should define antisemitism. Still, a handful of right-wing groups blasted the strategy, saying that its chosen definition of antisemitism diluted the term.
Despite the relatively united front, there are elements of the strategy that may stoke broader controversy: Among a broad array of partner groups named in the plan is the Council on American-Islamic Relations, whose harsh criticism of Israel has led to relations with centrist Jewish organizations that are fraught at best. The call to place limits on social media platforms may also upset free speech advocates.
Biden recalled, as he often does, that he decided to run for president after President Donald Trump equivocated while condemning the neo-Nazis who organized a deadly march in Charlottesville, Virginia, in 2017.
“Repeated episodes of hate — including numerous attacks on Jewish Americans — have since followed Charlottesville, shaking our moral conscience as Americans and challenging the values for which we stand as a Nation,” Biden wrote in an introduction to the report.
The administration launched the initiative last December, after years during which Jewish groups and the FBI reported sharp spikes in antisemitic incidents. The strategy was originally planned for release at its Jewish American Heritage Month celebration last week, but was delayed, in part because of last minute internal squabbling over whether it would accept a definition of antisemitism that some on the left said chilled free speech on Israel. Some right-wing groups were deeply critical of the new strategy for not accepting that definition to the exclusion of others.
Rabbi Levi Shemtov, the executive vice president of American Friends of Lubavitch (Chabad) praised the breadth of the plan, and said the delay seemed to produce results.
“The White House has taken this very seriously. The phrase that something is still being worked on can often be a euphemism for a lack of concern,” he said. “In this case, it seems to have resulted in an even more comprehensive and hopefully more effective result.”
Some of the initiatives in the plan focus less on directly confronting antisemitism and more on promoting tolerance of and education about Jews.The Biden Administration will seek to ensure accommodations for Jewish religious observance, the accompanying fact sheet said, and “the Department of Agriculture will work to ensure equal access to all USDA feeding programs for USDA customers with religious dietary needs, including kosher and halal dietary needs.”
Jonathan Greenblatt, the Anti-Defamation League CEO who was closely consulted on the strategy, said promoting inclusion was as critical as fighting antisemitism. “Is FEMA giving kosher provisions after disasters going to solve antisemitism?” he said in an interview. “No, but… it’s an acknowledgement of the plurality of communities and the need to treat Jewish people like you would any other minority community, and I think I’m very pleased to see that.”
In the months since Second Gentleman Doug Emhoff, who is Jewish, convened a roundtable to launch the initiative, the Biden administration has pivoted from focusing on the threat of antisemitism from the far-right to also highlighting its manifestation in other spheres — including amid anti-Israel activism on campuses and the targeting of visibly religious Jews in the northeast. Those factors were evident in the strategy.
“Some traditionally observant Jews, especially traditional Orthodox Jews, are victimized while walking down the street,” the strategy said in its introduction. “Jewish students and educators are targeted for derision and exclusion on college campuses, often because of their real or perceived views about the State of Israel.”
The proposal that may provoke controversy beyond American Jewry is the Biden Administration’s calls to reform the tech sector, which echo bipartisan recommendations to change Section 230, a provision of U.S. law that grants platforms immunity from being liable for the content users post. Free speech advocates and the companies themselves say that if the government were to police online speech, it would veer into censorship.
“Tech companies have a critical role to play and for that reason the strategy contains 10 separate calls to tech companies to establish a zero tolerance policy for hate speech on their platforms, to ensure that their algorithms do not pass along hate speech and extreme content to users and to listen more closely to Jewish groups to better understand how antisemitism manifests itself on their platforms,” Elizabeth Sherwood-Randall, Biden’s top Homeland Security adviser, said during a 30-minute briefing on the strategy on Thursday. “The president has also called on Congress to remove the special immunity for online platforms and to impose stronger transparency requirements in order to ensure that tech companies are removing content that violates their terms of service.”
Neo-Nazis and white supremacists encircle counterprotesters at the base of a statue of Thomas Jefferson after marching through the University of Virginia campus with torches in Charlottesville, Va., Aug. 11, 2017. (Shay Horse/NurPhoto via Getty Images)
In the weeks before the rollout, a debate raged online and behind the scenes amid Jewish organizations and activists about how the plan would define antisemitism. Centrist and right-wing groups pushed for the plan to embrace the International Holocaust Remembrance Alliance’s working definition. Among its examples of anti-Jewish bigotry are those focusing on when Israel criticism is antisemitic, including when “double standards” applied to Israel are antisemitic.
Advocates on the left say those clauses turn legitimate criticism of Israel into hate speech; instead, they pushed to include references to the Nexus Document, a definition authored by academics that recognizes IHRA but seeks to complement it by further elucidating how anti-Israel expression may be antisemitic in some instances, and not in others. Others sought to include the Jerusalem Declaration on Antisemitism, which rejects IHRA’s Israel-related examples.
In the end, the strategy said the U.S. government recognizes the IHRA definition as the “most prominent” and “appreciates the Nexus Document and notes other such efforts.”
A number of the centrist groups pressed for exclusive reference to IHRA, including the Conference of Presidents of Major American Jewish Organizations and the Simon Wiesenthal Center. Those groups praised the strategy and focused only on its embrace of IHRA. So did the Israeli ambassador to Washington, Michael Herzog.
“I would like to congratulate the Biden administration for publishing the first ever national strategy to combat antisemitism,” Herzog wrote on Twitter. “Thank you, @POTUS, for prioritizing the need to confront antisemitism in all its forms. We welcome the re-embracing of @TheIHRA definition which is the gold standard definition of antisemitism.”
Some center-right groups like B’nai Brith International, StandWithUs and the World Jewish Congress, praised the strategy while expressing regret at the inclusion of Nexus. Right-wing groups, such as the Republican Jewish Coalition and Christians United for Israel condemned the rollout.
RJC said Biden “blew it” by not exclusively using the IHRA definition. The Brandeis Center, which defends pro-Israel groups and students on campus, said the “substance doesn’t measure up.”
Groups on the left, however, broadly praised the strategy. “We call on our Jewish communities to seize this historic moment and build on this new strategy to ensure that the fight for Jewish safety is a fight for a better and safer America for all,” said a statement from six left-leaning groups spearheaded by Jews For Racial & Economic Justice.
Greenblatt said it was predictable that groups on the left would take the win and that groups on the right would grumble — but that it was also beside the point. IHRA, he said, was now U.S. policy.
“This document elevates and advances IHRA as the way that U.S. policy will be formulated going forward and across all of the agencies,” Greenblatt said. “That is a win.”
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A century-old Jerusalem photo album sparks search for forgotten images of the Western Wall
(JTA) — When David Freedman discovered a long-forgotten photo album in his parents’ Montreal basement last year, he found nearly 100 pages of century-old photographs from his grandfather’s year in British Mandate Palestine, capturing Jerusalem street scenes, market stalls and holy sites.
The photographs were not only century-old and in near-perfect condition, but included figures who would later become central to Jewish medical and political history, among them Israel’s future first president Chaim Weizmann, Jerusalem ophthalmologist Abraham Ticho, malaria researcher Israel Kligler, future British prime minister Winston Churchill and Herbert Samuel, Britain’s first high commissioner for Palestine.
David Freedman said he knew he had “struck gold” when he found the album, which had been untouched for decades. “I realized in disbelief I was looking at extraordinary images of Jerusalem,” he said.
Though Freedman said the album showed his grandfather’s “passion for skillful, impromptu photography,” it was images of a site that epitomizes endurance that are having the broadest impact.
Freedman’s pictures of the Western Wall has inspired a public appeal by the Tower of David Jerusalem Museum, which is asking people to look through old albums and attics for photographs, postcards and other visual material that could help expand the historical record of Judaism’s holiest site.
The request comes ahead of a major exhibition opening in 2027 marking 60 years since the 1967 Six-Day War brought the wall, known in Hebrew as the Kotel, under Jewish control for the first time in nearly two millennia.
Although the Western Wall is now one of the most photographed sites in the world, museum curators say the visual record of earlier decades remains surprisingly fragmented, with many of the most intimate images likely still tucked away in private collections and family albums.
“The Western Wall, the Kotel, in its simplest form, is a structure of ancient stones. Yet its true meaning has never resided in the stones alone — it has been shaped and elevated by the countless individuals who have stood before it over the centuries,” Eilat Lieber, the museum’s director and chief curator, said in a statement.
Next year’s exhibition, titled “Eyes on the Wall” and curated by Shimon Lev and Yael Brandt, will be the first large-scale exhibition dedicated entirely to the Western Wall, the museum said, and will trace its transformation over nearly 2,000 years. It will be one of the major exhibitions staged by the Tower of David Museum since it reopened in 2023 after a $50 million renovation of its ancient citadel complex.
The wall, the exposed section of an ancient retaining wall around the Temple Mount, the site of the biblical Jewish temples, has long been Judaism’s most sacred places of prayer and pilgrimage. From 1948 until the 1967 Six-Day War, when Israel captured the Old City and East Jerusalem from Jordan, Jews were barred from going there.
Among its most iconic images was David Rubinger’s photograph of three Israeli paratroopers standing at the wall shortly after its capture, looking upward in a mixture of awe and disbelief. The picture was taken 59 years ago this week.
Abraham Orkin Freedman, a Canadian physician and Zionist activist, took his photographs before the site was so contested. He arrived in Palestine in July 1920, just as Britain was replacing military rule with a civil administration, and stayed until 1922, serving during that period as managing director of Hadassah Hospital. His grandson David, also a doctor, said the album’s timing gives it much of its historical value, with photographs that capture people in the streets, as well as the terrain and buildings of Jerusalem during the nascent years of the British Mandate.
Among the images Freedman uncovered, the one that struck him most was a photograph of women praying side by side with men at the oldest part of the Western Wall, a scene far removed from the gender-separated prayer sections at the site today. The question of mixed-gender prayer at the Wall remains politically charged, with a recent High Court order to advance the egalitarian section followed by Knesset moves to strengthen Chief Rabbinate control over prayer at the site.
After recognizing the album’s significance, Freedman met with his family who decided collectively to give it to the Tower of David Jerusalem Museum for safekeeping, research and public access. Freedman said the family was proud the album had found “a new home, not many meters from where my grandfather once stood.”
Lev said he hoped the appeal would bring more discoveries like Freedman’s into public view, expanding the visual record of the Western Wall beyond official archives.
“There is something profoundly moving in the moment when an intimate private photograph transcends its original purpose and becomes an important historical testimony,” Lev said.
This article originally appeared on JTA.org.
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5th man charged in March arson of London’s Hatzola ambulances
(JTA) — Britain’s Crown Prosecution Service announced Tuesday that an 18-year-old man has been charged in connection with the March arson attack that destroyed four ambulances owned by Hatzola, a Jewish volunteer emergency service.
Subhan Ahmed, a British national, was charged on Monday with “assisting an offender” in connection with the arson.
The ambulances were set ablaze in the early morning of March 23 in Golders Green, a heavily Jewish neighborhood in London. The incident spurred increased patrols in Jewish communities.
The charge is the latest development in an investigation being led by the Metropolitan Police’s counter-terrorism unit.
Four others have already been charged in connection with the attack.
Three British nationals — 20-year-old Hamza Iqbal, 19-year-old Rehan Khan and 18-year-old Judex Atshatshi — along with a 17-year-old dual British and Pakistani national were all charged in April with “committing arson, destroying or damaging property, and being reckless as to whether life would be endangered.”
The four have remained in custody ahead of a trial planned for January. Ahmed, meanwhile, was released ahead of a June 16 court date.
The ambulance arsons came at the early edge of a wave of incidents that have put London Jews on edge and induced the city’s police force to step up their presence in Jewish communities. The incidents have included multiple incendiary devices placed near synagogues as well as the stabbing in April of two Jewish men in Golders Green. The Metropolitan Police reported last week that antisemitic hate crimes in the capital rose 72% in May.
Following the announcement of Ahmed’s charge, the Community Security Trust, a Jewish organization, thanked the police and the Crown Prosecution Service “for their ongoing work investigating this attack and other arson incidents targeting the Jewish community.”
It added in a statement, “These are very serious allegations, and it is right that those responsible are being held accountable.”
This article originally appeared on JTA.org.
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Israel boycott battle intensifies at Venice Art Biennale, testing tradition of inclusion
The anti-Israel protests that disrupted the opening of the Venice Art Biennale continue to escalate, with more than 100 artists and curators declaring last week that they will bring legal action against Biennale authorities if their names are not removed from consideration for what in normal times are coveted awards for best artist and best national exhibition.
It’s just the latest battle between activists seeking to shut down Israel’s art exhibition in Venice and the Biennale’s administration who are committed to keeping it open.
Chaos erupted in the streets on the third day of the biennale’s opening last month as demonstrators engulfed the Via Garibaldi chanting Palestinian liberation slogans during their march toward an art exhibit hosted by Israel, held back by Italian police in riot gear. The demonstration was organized by the Art Not Genocide Alliance (ANGA), a coalition of artists and art industry workers campaigning to ban Israel from participating in the world’s most prestigious art show.
ANGA’s agenda is reverberating throughout the Biennale, which is structured around a main international show that this year is hosting 110 invited artists, 100 national exhibitions and 31 official art shows. Many of the artists now threatening legal action first signed a letter this past March demanding that the directors of the Biennale exclude Israel’s exhibition from the show.
Just before the exhibition opened, the Venice Biennale’s five-member international jury — which oversees the prestigious Golden Lion for best artist and best national pavilion — announced that, in keeping with the spirit of the main international exhibition curated by the late Cameroonian art impresario Koyo Kouoh, who appointed them, it would “refrain from considering those countries whose leaders are currently charged with crimes against humanity by the International Criminal Court” — namely, Russia and Israel.
Belu-Simion Fainaru, representing the Israeli pavilion, reportedly responded by threatening that if he were excluded from consideration for the awards, he would sue the Biennale in the European Court of Human rights on grounds of antisemitism and nationality-based discrimination. Facing potential legal liability, all five jurors took the unprecedented step of quitting. The Biennale administration then announced that the juried awards would be replaced with Visitor Lions Awards, a popular vote by visitors to the show.
It’s that substitute award that the ANGA-allied artists are now renouncing.
There also have been attempts from the other end of the political spectrum to silence artists representing South Africa and Australia because of alleged anti-Israeli biases. Indeed, the 2026 Biennale, which opened on May 9 and runs through November 26, has become a referendum on artistic freedom of expression and on the place in the cultural sphere of the movement to boycott Israel. “Boycott the Genocide Pavilion,” the brochure ANGA demonstrators handed out at their demonstration stated, “For decades, the Venice Biennale has handed Israel an international stage to culturewash its occupation of Palestine,” and stated that in doing so Biennale authorities are helping to “normalize the ongoing decimation of an entire population.”
The president of the Venice Biennale, Pietrangelo Buttafuoco, has refused to cede ground. “Closing the door to some means making openness to others more fragile,” he argued in an impassioned speech announcing the opening of the Biennale’s 61st International Exhibition, adding, “if the Biennale began selecting not works but affiliations, not visions but passports, it would cease to be what it has always been: a place where the world meets, especially when the world is torn apart.”
Serene space
When I stepped into the Israeli exhibition, it seemed to be an invitation to leave behind the fractious world outside. The transcendent artwork, inspired by Paul Celan’s poetry, consists of a large rectangular pool in a tranquil space where the only interruption is the soothing sound of dripping water.
Given Israel’s destructive bombing campaigns, first in Gaza and now in southern Lebanon, presenting Fainaru and his serene artwork to represent the country is a fraught choice. Fainaru lives in Haifa, one of Israel’s most culturally diverse cities, and is a professor at Haifa University, where he told me the rector is Palestinian and more than 50% of his students are Arabs. Fainaru said that his art is about bringing people together and “collective consciousness,” and he argued it should be viewed outside of the political prism that has roiled the Biennale in recent years. “This environment is becoming more and more about boycott, censorship, limitation of freedom, exclusion,” he said, adding “that’s changing the meaning and role of art.”
Some observers who study censorship say the national pavilions at the Venice Biennale have always functioned as cultural diplomacy and in many instances are a form of “artwashing,” a term that refers to the ways that governments and corporations utilize art exhibits to obscure or gloss over unethical policies.
“Clearly they are an attempt to make a country look better, but on the other hand there is something in the art that exceeds the national ambitions,” Svetlana Mintcheva, former director of programs at the U.S,-based National Coalition Against Censorship, said in a phone interview, adding: “It’s counterproductive to censor because it then homogenizes everyone in that particular country as holding particular ideas and that’s not the case.”
The censorship campaign against Israel and Russia took place against the backdrop of the main international exhibition “In Minor Keys,” which emphasizes anti-colonialist themes and the utility of art as a means of reconnecting to local and indigenous practices. The leitmotif of the show, which primarily emphasizes art from the African diaspora, chimes with ANGA’s agenda to give voice to a Palestinian culture that the group claims has been sidelined by Israel’s “colonial expansion.”
Some artworks in the international exhibition address the Palestinian displacement and trauma, while none deal with Hamas’s Oct. 7 massacre or Israel’s wounds.
Gazan artist Mohammed Joha, who signed a March 26 ANGA petition calling for the exclusion of the Israeli pavilion, is exhibiting No Shelter, which the artist made while witnessing the conflict in Gaza. The work consists of collages made from discarded paper, fabric and cardboard intended to call attention to the cycles of destruction and rebuilding that Palestinians endure. Haitian artist Manuel Mathieu’s Genocide portrays a dark sea alongside what looks like pummeled charred flesh. British Ethiopian artist Theo Eshetu’s Garden of the Broken Hearted includes a rotating dais with a live olive tree, a symbol of Palestinian resilience.
And Kouoh and her team gave pride of place in her show to artists who have been victims of Israel’s conflicts. The very first exhibit to greet visitors at the entrance of the massive Arsenale, a brick linear hall serves as the main exhibition space, which t originally was part of Venice’s Renaissance-era ship building complex, features the poem “If I must Die,” by Palestinian poet Refaat al-Areer, which he posted to social media in late 2023, about a month before he was killed along with several of his family members by an Israeli airstrike in Gaza. The poem, which has become a rallying cry for Palestinian activists, sits below a canvas portraying a disembodied face with penetrating eyes against a fractured background by Issa Samb, a Senegalese artist known for his anti-colonial themes.
The subsequent exhibition at the Arsenale is a monumental multi-media installation titled Khalil by Australian artist Khaled Sabsabi, a former refugee from the 1976 Lebanese Civil war. Sabsabi is also representing Australia at its national pavilion in the nearby Giardini fairground.
Khalil, which was originally intended to be displayed at the Australian Pavilion, was intended as a meditation on Sufi mysticism. It consists of digital projections on a canvas painted in acrylic with swirling shapes, accompanied by sonorous background music and the piped in scent of Oud, which is used in Middle Eastern perfumery.
But Kouoh’s invitation to Sabsabi to exhibit at the Arsenale, which she extended after he was temporarily disinvited from showing the work at the Australian Pavilion, appears to have as much to do with his notoriety as it does his artistic merit. Sabsabi’s commission to exhibit at the Australian Pavilion was canceled after conservative Australian members of parliament and right-wing newspapers denounced him as promoting antisemitism and terrorism over work he had produced in the past, notably YOU, a 2007 multimedia piece that portrays multiple images of former leader Hezbollah leader Hassan Nasrallah.
Australia’s Museum of Contemporary Art (MCA), where the You is on permanent display, originally described the artwork on its website as “obscuring Nasrallah’s face with beams of light that shine from his eyes and mouth, suggestive of a divine illumination.” But last year, after Sabsabi was dropped from representing the Australian Pavilion, the MCA engaged in an act of self-censorship by removing the section of text deifying Nasrallah and updating the description of the artwork to inform viewers that: “The Australian Government listed the entirety of Hezbollah as a proscribed terrorist organization in 2021.”
Meanwhile, subsequent larger furor in the international arts community over Sabsabi’s being censored led to an independent review, which resulted in the reinstatement of his invitation to show at the Australian Pavilion, greatly raising his profile.
Another controversial figure is Gabrielle Goliath, the video and performance artist invited to represent South Africa, was the only artist to be officially banned. Elegy, the work she had planned to show, is a performative piece about gender and LGBT violence that has also addressed the killing and displacement of Palestinian women. But Goliath’s commission was canceled and the South African pavilion shuttered by the country’s culture minister Gayton McKenzie, a vocal supporter of Israel, who reportedly deemed Elegy “highly divisive in nature and relates to an ongoing international conflict that is widely polarizing.”
After an unsuccessful lawsuit accusing the South African government of unlawfully revoking her commission, Goliath was relegated to presenting Elegy in a rented church in Venice. This version of the work she exhibited there features eight “funereal screens,” with women singing and commemorating female victims of violence, including a murdered South African student and the Palestinian poet Heba Abunada, who was killed in an Israeli airstrike on Gaza in 2023.
The closing of the South African pavilion didn’t stifle Goliath’s voice and, as with Sabsabi, the controversy over her being canceled may have given her a larger platform. After Venice, Elegy will be traveling to London before moving onto Milan.
It’s difficult to imagine Fainaru’s message of “collective consciousness” finding a similar welcome in arts venues throughout Europe and the United States.
Recent events in Venice and elsewhere suggest that the cultural boycott campaign is gaining momentum, putting freedom of expression under increasing strain. And it’s not just principles that are at stake. Closing Israel’s exhibition in Venice and further marginalizing Israeli artists works at cross-purposes with efforts to achieve mutual understanding and peace in the Mideast. “The price of cultural boycotts is quite high, says Mintcheva of the National Coalition Against Censorship, “because you limit any kind of exchange and you limit understanding of dissent within a country like Israel.”
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