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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.


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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The part of the Hanukkah story we ignore — and why it matters to converts like me

Converts to Judaism are often treated as rare exceptions — surprised looks, intrusive questions, comments like “who’s the lucky girl.” Yet conversion is no anomaly. It is now more common than at any point in the last 2,000 years. You see it in synagogue pews. You see it in rabbinical leadership.

As Hanukkah approaches, with its call to make Jewish identity visible, I keep returning to what happens when people choose Judaism — and to the parts of our tradition that do not fit the story we usually tell.

We often repeat that Judaism doesn’t seek converts. But clearly, people are seeking Judaism. Hanukkah forces us to ask what kind of Judaism they are finding by looking at the holiday’s own complicated history with power and conversion.

We usually tell Hanukkah as a straightforward story of good and evil: a small band of Jews defends their faith against an empire, and a miracle in the Temple affirms that steadfastness can overcome adversity. The holiday’s defining commandment, pirsum ha-nes — publicly proclaiming the miracle — seems equally simple. We put the menorah in the window for all to see. Judaism doesn’t hide.

But if you look more closely at the history behind that beloved story, Hanukkah is also about force, conversion and the question of what kind of Judaism we choose to embody when we’re no longer powerless.

John Hyrcanus, a later Hasmonean ruler and direct descendant of the Maccabees, is rarely mentioned in Hanukkah celebrations. Yet his legacy haunts the holiday. A generation after the revolt, Hyrcanus used the political power of the Hasmonean kingdom to forcibly convert the neighboring Idumeans to Judaism. A movement that began as resistance to assimilation ended in the coerced assimilation of others. The people whose story we tell as a fight for religious freedom became, in time, the ones taking that freedom away.

It’s an uncomfortable truth, especially for those of us who, like me, chose Judaism. I didn’t convert to marry in or reclaim distant ancestry. I converted because I saw in Judaism a faith worth choosing: a tradition grounded in human dignity and a God who seeks relationship. For years I was told Judaism was always a non-proselytizing, purely voluntary faith, the opposite of traditions that sought converts — including Jews — through coercion.

But our own texts complicate that narrative. Near the end of the Book of Esther, in a verse most Purim spiels rush past, we read: “And many of the people of the land professed to be Jews, for the fear of the Jews had fallen upon them.” That is not a story of seekers drawn by theology, but of people compelled to join the Jews out of fear.

When Judaism welcomed seekers

Those coercive moments sit alongside a very different strand of Jewish history — one in which Judaism didn’t force, but attracted. In the late Hellenistic and early Roman era, Christian and Jewish sources describe synagogues filled not only with those born Jewish but with converts and “God-fearers,” people drawn to Jewish ethics, study and monotheism. As a convert drawn to Judaism by faith alone, I came to see myself not as an anomaly, but as part of that long line.

Centuries later, a similar universalist voice resurfaced in 19th-century America, especially in the early Reform movement. Rabbis such as Isaac Mayer Wise preached Judaism’s mission not as an inward inheritance but as a message about human dignity meant for the world.

In 1870, laying the cornerstone of Columbus, Ohio’s first synagogue, Wise told a largely non-Jewish crowd that Judaism’s purpose was to remind humanity that “God hath made man upright,” A direct rejection of the Christian doctrine of Original Sin. Synagogues etched Isaiah’s verse — “For My house shall be a house of prayer for all peoples” — onto their facades and welcomed neighbors of every faith inside. Converts were welcomed as a natural extension of that conviction.

That confidence, too, was battered by history. Mass immigration of Eastern European Jews, the Holocaust, and the urgent work of supporting refugees and the new State of Israel all pushed the universalist voice to the background. Yet, more people are converting to Judaism than at any point since Roman times.

Meanwhile, religious identity in North America has become unusually fluid. Many people describe themselves as spiritually seeking but institutionally unaffiliated, brushing against Jewish life through family, friendships or personal study.

And yet, the gatekeeping persists. Converts are asked to defend their legitimacy. Jews-by-choice face skepticism in Israeli bureaucracy and suspicion in American Jewish spaces. I’ve been told I “don’t look Jewish,” and once, at a community film screening, another attendee — a fellow Jew — grabbed my name tag and publicly questioned whether I was really Jewish.

Those moments aren’t just rude; they reveal a deeper anxiety about boundaries: the fear that if Judaism is too open, it will lose itself. It’s a fortress mentality, one that sees every door as a potential breach.

What Judaism we reveal now

Hanukkah offers another possibility. The holiday asks us to present Judaism so that others can see it. It remembers a moment when Jews refused to disappear, and it also reminds us that Jews have sometimes used political power in ways that betrayed our deepest values. To take Hanukkah seriously in our time is to recognize that Jewish history, like the histories of all faiths, holds moments of both coercion and holiness — and that we have a choice about which lineage to lean into now, when seekers are again at the door.

The question is not whether Judaism should send out missionaries. Rather, it is whether we will live as if Isaiah’s verse still says what we claim it does: that our house is meant to be a house of prayer for all peoples, including those who, in every generation, find their way to our door.

This Hanukkah, as we place our menorahs in doorways, balconies and windows, the question beneath pirsum ha-nes is sharp: What kind of Jewish confidence are we proclaiming — a brittle confidence that closes in on itself, or a steadier confidence that welcomes those moved by the stories and ethics we are illuminating?

The miracle is not only that the Jewish people have survived. It is that Judaism continues to draw people in. The doors we open — or keep shut — will determine who gets to stand in that glow with us.

The post The part of the Hanukkah story we ignore — and why it matters to converts like me appeared first on The Forward.

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The Jewish left is misplaying its hand — by not focusing enough on Jews

A few weeks after I moved to Jerusalem this fall, I was barred from entering the Tomb of the Patriarchs on a visit to Hebron. Three soldiers stopped me almost as soon as I stepped through the entrance. “Do you support Palestine?” one asked. “Are you a Muslim?” another demanded.

I was confused — perhaps I was at the wrong door? The occupation has made separate entrances for each religion, with one for Jews and another for Muslims. Passport in hand, I told the soldiers that I am Jewish, had just moved here, and was visiting the Tomb for the first time. I gestured to the chai, Hebrew letters meaning “life,” around my neck. It did no good.

I had forgotten that I was wearing a t-shirt from the Taybeh Brewing Company. The shirt had the company’s name in Arabic, with the word “Palestine” printed beneath it. The soldiers demanded my friends and I stand against a wall as they searched our bags. Their anger only intensified as I explained that Taybeh is a beer company, whose product is enjoyed across Israeli cities.

Eventually, their superiors arrived, and told my friends and I to leave. Something as trivial as a T-shirt was seen as damning enough to negate my Judaism, as well as whatever rights come with it in this Jewish state.

I have heard many stories like this: Jews are banned from holy sites, communal activities, and institutions central to Jewish life, simply for showing care for Palestinian existence. This fall, two friends of mine, both Jewish-American, Hebrew-speaking women, were deported from Israel for participating in an olive harvest in the West Bank.

The consequences of these red lines affect Jews in the diaspora as well as in Israel. I personally know many Jews who have had their Judaism treated as illegitimate because of their criticism of Israel. An Orthodox friend of mine was bullied out of her college’s Jewish society for displaying posters that paired Jewish liturgy with images of destruction in Gaza. Another friend’s brother was barred from a synagogue after he was spotted in a video of a pro-Palestinian protest. And in some rabbinical schools, recent efforts seek to blacklist applicants who question Zionism.

Yet rarely do I hear these stories told in Jewish activist circles and used as campaign fuel. That’s a mistake. If we want to build a movement capable of affirming a different version of Jewish life in this land and throughout the diaspora, we must talk about the ways in which Israel harms Jews.

The left often prioritizes spotlighting the urgent needs of Palestinians — rightly, and with good reason. Palestinians are unequivocally oppressed. Gaza lies in ruins; Palestinians in the West Bank endure unprecedented state-backed settler violence; and the full death toll of two years of war — plus continuing Israeli strikes in Gaza — remains unknown.

But the deescalation that has accompanied the current ceasefire has opened an opportunity for the Jewish left an opportunity to reflect and redefine its strategy. What future, exactly, are they fighting for? And how can they best go about that fight?

Too often, Jewish leftist spaces shy away from these questions. What does the egalitarian, diverse and thriving Jewish future the left seeks to build look like in Israel and beyond? How does this future address the many legitimate questions Jews have about their safety and identity there?

When the left fails to answer these concerns, it invites Jews to be skeptical of the merits of its vision. If the Jewish left cannot articulate a way forward to a meaningful future for Jewish safety, belonging and spirituality in Israel, Jews will continue to seek those things from the reactionary forces who paint morbid pictures.

That’s a bad outcome for Jews, as well as for Palestinians.

Right now, Israel’s government enforces a hierarchy of Jewishness. In doing so, it prioritizes versions of Jewishness rooted in nationalism, and erodes the vast historical treasure trove of diverse Jewish expression.

This is no accident. Systems built on injustice turn those affected by them against each other. The narrow definitions of “good Jewishness” advanced by Israel’s government only serve to weaken our people. The Jewish left must present a contrast: A strong plan for Jewish life in Israel that uplifts the spiritual and cultural traditions of the Jewish people, and coexists with a peaceful, free future for Palestinians. A vision of abundance, rather than the specter of scarcity that dominates today’s politics.

Of course, the alienation I and other Jews have experienced in Israel and because of Israeli policies pales in comparison to the violence, dispossession, and racism Palestinians have long faced under Israeli rule. But both emerge from the same supremacist logic. The same system that decides who is human enough to enter, pray, and live.

To challenge this system, the Jewish left must include Jewish stories of exclusion in the narrative of our politics—not to distract from Palestinian suffering, but to expand understanding of what this movement truly aims to accomplish: A good future for Jews and Palestinians, equally. After all: How can a state that punishes Jews for wearing the wrong t-shirt claim to protect us?

The post The Jewish left is misplaying its hand — by not focusing enough on Jews appeared first on The Forward.

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A new bill would ban protests near synagogues, after the Park East protest. Is that legal?

A protest outside a prominent New York City synagogue has prompted a bill that would ban demonstrations within 25 feet of houses of worship and reproductive health care clinics. But free speech advocates say the proposed restriction raises constitutional concerns that could put the measure on shaky ground.

“This bill, especially as written, would ban an enormous amount of protests in New York and contradict pretty well established First Amendment protections for protest on sidewalks and public streets,” Carolyn Iodice, legislative and policy director for the Foundation for Individual Rights and Expression, told the Forward.

If passed, the bill could tee up a legal clash over how to balance the protection of worshippers with protesters’ First Amendment rights.

State Assemblyman Micah Lasher, who introduced the bill, defended it in an interview with CNN: “There needs to be some reasonable space so that people who are trying to enter a house of worship or reproductive care facility can do so without having to run a gauntlet,” he said.

Mayor-elect Zohran Mamdani was reportedly receptive to the idea of limiting protests near houses of worship during a conversation with Rabbi Marc Schneier, the son of Park East Rabbi Arthur Schneier. Later, Mamdani told the Forward that he would consult community leaders and  legal experts before determining whether he supports the legislation.

Why was the bill introduced?

Lasher said he introduced the legislation partly in response to a protest outside Park East Synagogue, where demonstrators objected to an event inside promoting immigration to Israel. Protesters chanted slogans like “death to the IDF” and “globalize the intifada.”

Mamdani condemned the demonstration and said New Yorkers should be free to enter houses of worship without intimidation. But he also said that “sacred spaces should not be used to promote activities in violation of international law,” referring to the promotion of Jewish settlements in the Israeli-occupied West Bank.

That statement drew outrage from some Jewish leaders who view making aliyah, or immigrating to Israel, as a core Jewish value. Two weeks later, UJA-Federation of New York hosted a rally outside Park East Synagogue, where speakers condemned the protesters’ rhetoric.

Speaking to the crowd, Rabbi Arthur Schneier backed the legislation and urged attendees to call their representatives to express support.

“Legislators, keep your eyes open,” Schneier said. “This is what we want.”

What are the constitutional concerns?

In weighing constitutionality, courts consider whether a law restricts more speech than necessary to achieve the government’s interest.

In this case, if the state’s goal is simply to ensure physical access to places of worship, there are already laws in place, according to Iodice. A 1994 federal law, the Freedom of Access to Clinic Entrances Act, makes it illegal to use force, threats, or physical obstruction to block access to reproductive health services or houses of worship.

If the government’s goal is to ensure congregants can worship without emotional distress, the bill may be too broad, according to Alan Brownstein, a constitutional law scholar and professor emeritus at UC Davis School of Law.

“Suppose you had three people and they had a sign that said, Reconsider attending this house of worship, because the clergy oppose same sex marriage. And that’s all you had, three people with signs and they’re 20 feet away,” Brownstein said. “Is that traumatizing? Is that so disturbing to people who are going to attend a house of worship that we have to prohibit it?”

It’s also unclear what the bill means by “demonstrating,” he said. Some definitions — like two or more people engaging in expressive conduct — could apply to a wedding ceremony outside a synagogue as easily as a protest.

Legislators also cannot ban speech they dislike while allowing speech they approve. So if the bill only targets protests but permits supportive demonstrations, that creates another legal problem, Brownstein said.

Iodice mapped out locations where the bill would ban protests, including houses of worship, OBGYNs, urologists, hospitals, and abortion and fertility clinics. Screenshot of X

The distance requirement could also be an issue. The bill requires demonstrators to stay 25 feet away from not only the building, but also its parking lot, driveway, and sidewalk, which could make the actual restriction larger, Iodice said.

In a densely packed area like Manhattan, that could eliminate a lot of protest space.

“Banning protests across wide swaths of Manhattan, as a realistic matter, that’s not going to fly constitutionally because of how much speech it restricts,” Iodice said.

There is some precedent for this kind of restriction: Laws creating protest-free buffer zones have been used in a variety of other contexts, including at funerals and abortion clinics in other states.

But it’s an open question whether those cases translate to houses of worship, Brownstein said, because healthcare clinics and cemeteries don’t participate in public discourse in the same way a synagogue or church does.

He considered a hypothetical law barring demonstrations within 25 feet of a political party’s headquarters, in what would be an obvious attempt to silence opposing views.

“Now, houses of worship aren’t political campaign headquarters,” Brownstein said. “But if anyone argued to me that religion is not a major voice in public discourse and debate in the United States, I don’t know where they’ve been.”

The post A new bill would ban protests near synagogues, after the Park East protest. Is that legal? appeared first on The Forward.

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