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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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What will become of the Dutch farm school that saved my father from the Nazis?

In North Holland, a grand community house rises above neighboring farms. Built in 1936 by students of Werkdorp Wieringermeer (Werkdorp means “work village”; Wieringermeer was the name of the township), the building held the dining room and classrooms of a Jewish farm school. A stunning example of Amsterdam School architecture, the Werkdorp’s brick and cobalt-blue facade dominates the polder, or land claimed from the sea.

Today, the land grows tulips. Nearby, Slootdorp (“Ditch Village”) honors the canals that carry the water away.

In 1939, the school sheltered 300 German-speaking Jewish students, including this reporter’s father, who arrived, his head shaved, on Jan. 4, from Buchenwald.

A 1936 photo taken of students at the Werkdorp by Willem de Poll. Photo by Willem de Poll/National Archives

Why a Jewish farm school? In the 1930s, most young German and Austrian Jews were city dwellers and had no idea how to milk a cow, raise chickens, or plow land. But as the Nazis barred Jews from education and professions, farm laborers were the immigrants most wanted by the handful of countries accepting Jewish refugees.

Some 30 such training schools were established in Germany, modeled on the hachsharah throughout Europe that taught Jewish youth the skills to settle in what was then Palestine. The Werkdorp, the largest in Holland, was non-Zionist. Its objective was to send young farmers to any country that would take them.

Today, volunteers have assembled a grassroots museum that showcases the Werkdorp’s years, 1934 to 1941. Pinned to the walls inside are pictures taken by the Russian-American photographer Roman Vishniac, who visited in 1938, and by the Dutch photojournalist Willem van de Poll. They show students haying, plowing, feeding chickens, baking bread.

The entry path to the Werkdorp today. Photo by Heidi Landecker

Also on the walls are images of the nearly 200 Werkdorpers who were not as lucky as my father. The Nazi official Klaus Barbie — who became known as the “Butcher of Lyon” for his harsh treatment of resistance fighters there — rounded up the Werkdorpers in 1941 and sent them east to concentration camps, where they were murdered.

A scroll of those victims’ names hangs near the entrance. In the huge kitchen, you can still see the kosher sinks, one tiled red and white for dishes for meat, the other black and white for dairy. Otherwise, the three floors of the great hall stand largely empty.

Protected from demolition by the Netherlands Agency for Cultural Heritage, the community house and its land have been owned since 2008 by Joep Karel who runs a private real estate company that builds housing. Karel pays for the building’s upkeep and opens it to cultural groups and schools.

But the developer has a grander plan. He wants to create a modern memorial center that tells the story of the Werkdorpers and the polder. To fund his venture, he would erect housing behind the community house, to be rented by migrant workers. In April 2020, the council of Hollands Kroon — the Crown of Holland, as the township is called today — approved such housing for 160 workers.

The organizers of the museum are uncertain: Will the project enhance their efforts, or thwart them?

A hero or a collaborator?

North Holland juts like the thumb of a right mitten into the North Sea. A decade before the community house was inaugurated in January 1937, the land beneath it was seabed. The first students, 11 boys and four girls, arrived in 1934 to live in barracks that had housed the polder’s builders. Their task: to build a school.

The farm school admitted refugees for a two-year course. Its purpose was to help them emigrate, the only way The Hague would allow the school to function. Residents spoke German; there was no need to learn the language of one’s temporary home.

Gertrude van Tijn, a leader of the Dutch Jewish refugees committee — tasked with finding countries that would accept thousands of Germans and Austrians forced to flee the Nazis — handled admissions. Most of the Werkdorp’s budget came from Dutch Jewish donors, with contributions from Jewish groups in Britain and America. Students’ families paid fees if they could.

The Werkdorp, circa 1936. Photo by Willem de Poll/National Archives

The school was internationally recognized. James G. McDonald, the American high commissioner for refugees of the League of Nations, attended its opening ceremony. The legal scholar Norman Bentwich praised the village in The Manchester Guardian. Although the school was non-Zionist, Henrietta Szold, a leader of Youth Aliyah, brought 20 German teenagers there in 1936.

Werkdorp Wierengermeer helped at least 500 German and Austrian Jews, ages 15-25, escape the Nazi regime.

It was Van Tijn, a German Jew who’d married a Dutchman, who got my father, George Landecker, out of Buchenwald. He had been arrested in Frankfurt on Kristallnacht, the November 1938 pogrom, and sent east by train to Buchenwald.

In the camp he met his friends and teachers from Gross Breesen, a farm school in eastern Germany, from which he had graduated that May. Breesen was the Werkdorp’s sister farm school. By admitting the Breeseners and my father to the Werkdorp, Van Tijn got Dutch entry permits for all.

For the Gestapo in January 1939, such proof that a prisoner could leave Germany secured freedom.

Van Tijn saved thousands of young people like my father, but she worked with the Nazis to do so. After the war, historians and people seeking to repatriate Dutch Jews called her a collaborator. She moved to the United States and wrote a memoir, in which she criticized other Jewish leaders for their decisions under German rule. According to her biographer Bernard Wasserstein, she never published the memoir because she didn’t want to make money from describing the atrocities she had seen.

When my father arrived in 1939, the Werkdorpers were cultivating 150 acres — there was wheat, oats, rye, barley, and sugar beets for the animals: 60 cows, 40 sheep, and 12 workhorses. The residents raised chickens, grew vegetables, and baked their own bread. The school taught carpentry, welding and plumbing, skills I would see my father use, not always deftly, later as a dairy farmer in New York state. (Dad was a good farmer, but he was less than expert in all the other skills a farmer needs.)

My father got a visa to America and left Rotterdam on the steamship Veendam, arriving in New York on Feb. 5, 1940. Three months later, the Nazis invaded Holland, cutting off all routes of escape.

‘Their names should be spoken’

Over the decades, Wieringer residents have found ways to commemorate the residents who died.

Marieke Roos, then a board member of the Jewish Work Village Foundation, proposed a monument of their names. She raised funds and recruited volunteers. Completed in 2021, the memorial comprises 197 glass blocks embedded in a semicircle at the building’s gateway. They mirror the layout of the dorms, now long gone, which once embraced the rear of the community house. Each block commemorates a student, teacher, or family member deported and murdered. One honors Frits Ino de Vries (1939–43), killed at Auschwitz with his mother and sister, Mia Sara, who was 5.

A man works in the Werkdorp kitchen. Photo by Willem de Poll/National Archives

Corien Hielkema, also from the foundation, teaches local middle schoolers about the Werkdorpers’ fate. Each student creates a poem, painting, or website about a Werkdorper because “their names should be spoken and their stories told,” she told me.

Rent from migrant workers may sound like an unusual way to fund a memorial center. But in Joep Karel’s plan, such housing would be built behind the community house,  and would be reminiscent of the dormitories where my father lived. Hollands Kroon’s biggest exports are flowers, cultivated by workers from the eastern EU. The region desperately needs housing for these temporary workers. In 2024, the province gave Karel 115,000 Euros to start the project.

Joël Cahen, who chairs the fundraising for Karel’s Jewish Work Village Cultural Center, says that attracting tourists here won’t be easy — it’s a 45-minute drive from Amsterdam, “along a boring road,” he said.  Nevertheless, he said he thinks Karel’s idea will work, though “it will take time.”

Some neighbors objected to housing migrant workers, Cahen said. They feared noise pollution, traffic and drugs. Months of legal delay produced a court decision in Karel’s favor, but by then construction costs had skyrocketed.

Now, Cahen said, Karel needs an investor. The developer did not answer a question about how that search is going, except to say, via Cahen, that he would break ground “as soon as possible.” Roos says she has been hearing “soon” for years.

A young woman operates an iron at the Werkdorp. Photo by Willem van de Poll/National Archives

And if the housing were to be completed and the workers arrived, where would they hang their laundry, store their recycling, hide their trash? It would be hard to hide the chaff of daily living on the site’s four acres. Who would visit such a memorial center, and how would the owner keep it running?

Those are legitimate questions, Cahen said. But “we need people to help us push this thing forward. This is a chance.”

Kees Ribbens, a senior researcher at the NIOD Institute for War, Holocaust and Genocide Studies, in Amsterdam, told me that the community house has no “comparable examples in the Netherlands.” It is a “special building,” and a memorial center “would certainly be appropriate.”

Most of the agricultural training centers that saved German Jewish youth have been destroyed or reused. The director’s house of a farm school in Ahlem, Germany, is now a museum. But it became the local Gestapo headquarters, so it also tells that story. The Ahlem school buildings are gone. Gross Breesen, now in Poland, is a fancy golf spa.

The Werkdorp is one of a very few farm schools in Europe whose original building is dedicated to its history.

What my father did and didn’t tell me

My father talked a lot about his first farm school, Breesen. Survivors from Breesen, in America and around the world, remained his closest friends.

George Landecker in Frankfurt, 1938, shortly before he was arrested. Courtesy of Heidi Landecker

Yet he mentioned his time in the Netherlands only once. My mother had served a Dutch cheese to some guests. Dad told us how he’d been hitchhiking in Holland with a friend, when a truck carrying Edam cheeses had picked them up. They rode in the truckbed, hungry, surrounded by giant cheese wheels.

It was such a slim memory. I assumed he had lived in Holland for a few weeks. I learned only recently that Werkdorp Wieringermeer had protected him from January 1939 until February 1940.

Now I think my father didn’t want to remember his Dutch year. Because like refugees today, everywhere, he was terrified.

Dad once told an interviewer how he’d read a memoir by a man who was arrested on Kristallnacht and transported by train to Buchenwald. My father realized, “That’s me. I did that too.” He had no memory of actually doing it at all.

The brain is good at shielding us from trauma. His year at Werkdorp Wieringermeer may have been like his train ride after Kristallnacht, a time he needed to forget. He was worrying about his parents and siblings, who would not escape Germany until November. (One brother, his wife, and toddler would not survive the war.) He was anxious about the U.S. visa the Breeseners had applied for as a group (they circumvented the American quota on Germans, another story). He had been forced to watch people hanged at Buchenwald for trying to escape.

A young man demonstrates the farming duties the Werkdorp trained him for. Photo by Willem van de Poll/National Archives

Yet my father was an optimist when I knew him, and never dwelled on suffering. And I never thought, “I should ask about his experience in the Holocaust because I will want to write about it one day.”

So the only thing I knew about his experience in the Netherlands was that he’d hitched a ride in a truck full of cheese.

An hour’s drive beyond the Werkdorp from Amsterdam, there’s a memorial to the 102,000 people deported from the transit Kamp Westerbork and murdered during the Second World War. It draws 150,000 visitors annually. Cahen hopes the Werkdorp could attract 10,000.

Like Westerbork, the Werkdorp was a transit point — but with a key difference: Many of its residents were saved.

As the daughter of one of them, I hope the tension over the future of its community house will ease, and that someone will make a grand memorial center flourish there.

The post What will become of the Dutch farm school that saved my father from the Nazis? appeared first on The Forward.

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I’m a Zionist. I support Palestinian rights. My campus has no space for people who believe in peace

Our country’s political discourse tends to cast Zionism and the Palestinian quest for statehood as mutually exclusive moral commitments. But as a left-wing Zionist who has never lost his faith in the two-state solution, I don’t find it difficult to be simultaneously “pro-Israel” and “pro-Palestine.”

Unfortunately, there seems to be no space for this middle-ground perspective on my campus.

At Boston University, I’ve found that my peers on my political right share neither my belief in the rights of all peoples nor my understanding of the facts that underlie the Israeli–Palestinian conflict. And the anti-Zionists I know advocate the erasure of Israel’s Jewish identity through its merger with the Palestinian territories as the only just means of resolving that conflict — a stance that doesn’t square with my sense that the most peaceful way forward for the Middle East is for Israel to continue to exist as a Jewish state, and an independent Palestinian nation to be established in Gaza and the West Bank.

Life as an on-campus political outcast has taught me that it’s never been harder to maintain the broader ideal that peaceful coexistence is possible for all the world’s peoples. But it’s never been more important to do so, either.

Out of curiosity, I attended a BU College Republicans meeting last fall and took part in a discussion about Gaza. There, I heard two fellow Jews articulate positions that deeply alarmed me.

One high-ranking member expressed his hope that Israel would forcibly relocate the Palestinians in Gaza, but said he feared what would happen if they sought refuge in Europe. He joked about that potential refugee crisis in a way which made it clear that he saw Palestinians — and Arabs generally — as less deserving of moral consideration than Jews and white Europeans.

Another student with Israeli roots rejected his view, saying she hoped that Palestinians could one day have their own state alongside Israel. But Israel’s occupation of Palestinian land must continue indefinitely, she said, due to Arab rejectionism.

After she spoke, I pointed out that the leaders of the Palestinian Authority have supported the two-state solution for decades. Even more importantly, I said, the 2002 Arab peace initiative sets the enactment of that solution — along with some compromise on issues surrounding Palestinian refugees — as the Arab world’s only prerequisite for recognizing the Jewish state.

But my words fell on deaf ears. She maintained that the Palestinians and several of the Arab states were still devoted to destroying Israel and dismissed some of the sources I attempted to cite in support of my position as “antisemitic propaganda.”

The few Democrats I know on campus with similar views about Palestinians have responded in the same way. We simply cannot agree on the facts, so meaningful discussion proves impossible.

My conversations with anti-Zionists on the left have occurred with greater frequency and have generally run more smoothly. But those exchanges, too, are marked with frustration.

During a casual conversation, one friend told me that she had gotten involved in anti-Zionist activism through a church group called Episcopalians for Palestine and was curious about my opinion on the conflict. I told her that the Jews deserved their own country in Israel for all the hardships they have suffered throughout history, especially the Holocaust. The establishment of a Palestinian state in Gaza and the West Bank would be enough to meet the national aspirations of the Palestinians, I added, even if it wouldn’t be an ideal resolution for them.

But most Palestinians would never accept a compromise that limited their country to 1967 borders, she argued. I replied by informing her of a 2012 poll showing that a slight majority of Palestinians in the occupied territories supported the Arab peace initiative — from which the two-state solution would result. Even after a decade of Israeli intransigence and Palestinian Authority corruption, a significant minority of Palestinians still favor the two-state solution.

So by recommitting themselves to that settlement, I said, the United States and Israel could hopefully work to move Palestinian public opinion back to what it was about a decade ago and work with Palestinians to transform the occupied territories into a viable state.

Then another anti-Zionist joined the discussion. He condemned the two-state solution and advocated for the anti-Zionist alternative on purely moral grounds. Europeans largely left the lands they had colonized in Africa and other places, he said, meaning that the “settler-colonialists” living in Israel should do the same.

When I pointed out that decolonization in Africa was a ferociously violent process, he told me that no Jew would be forcibly expelled from Palestine under his solution — just that many of them would leave of their own volition rather than become minorities in an Arab-majority nation. The important question of whether or not Jews deserve their own state in a post-Holocaust world remained unaddressed.

I empathized with his argument. The Palestinian mass expulsion of 1948 would continue to sting; of course many Palestinians, and their supporters, would still dream of what it might be like if that land had never been lost, and still wish for its return. That’s why I believe that the Palestinians deserve a homeland in Gaza and the West Bank as much as the Israelis deserve the nation they created in 1948. Only with a two-state solution can these two bitterly divided peoples live beside one another in peace.

But the anti-Zionists I spoke with view the Israeli–Palestinian conflict as a zero-sum game in which one party must lose for the other to win. They can only imagine a future in which the Palestinians achieve statehood at Israel’s expense.

In that, they’re aligned with many of the students I spoke with on the right, who see things the same way, with the only distinction being that they want the Israeli side to triumph in the end.

Research shows that social isolation remains one of the most painful consequences of the campus rifts that have opened since Hamas’ Oct. 7, 2023 attack. I experience it firsthand. If a middle ground exists somewhere at BU, it has eluded me for years.

But I’ll keep looking, no matter how much my beliefs alienate me from those on the left and right of me on this issue. If we stand a chance of furthering peace in the Middle East, we have to believe that sane conversations between people of divergent views are possible.

The post I’m a Zionist. I support Palestinian rights. My campus has no space for people who believe in peace appeared first on The Forward.

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From Ancient Egypt to TikTok: The Transformations of Antisemitism, the World’s Oldest Hatred

TikTok app logo is seen in this illustration taken, Aug. 22, 2022. Photo: REUTERS/Dado Ruvic

i24 NewsWhile the term “antisemitism” just under 150 years ago, hatred of Jews has accompanied humanity for more than two thousand years. A historical review reveals how the mechanism of the world’s oldest hatred was born, changed form, and today blazes a trail through social media.

The roots of hatred are not in Nazi Germany, nor in Islam, but in third-century BCE Alexandria. The Egyptian historian Manetho then spread what could be called the first “fake news”: the claim that the Jews are descendants of lepers who were expelled from Egypt.

The stereotype of the Jew as a “disease spreader” and as a strange foreigner who observes peculiar customs accompanied the Roman Empire and led to violence already in ancient times.

With the rise of Christianity, hatred received official religious sanction. The accusations regarding the death of Jesus led to demonization that continued for hundreds of years, including blood libels, pogroms, and mass expulsions in Europe.

Under Islam, the Jews were defined as “protected people” (dhimmis) – a status that granted them protection and freedom of religion in exchange for a poll tax, but was also accompanied by social inferiority, and sometimes even by identifying markers and humiliations.

1879: The Rebranding of Hatred

In the 19th century, the hatred had undergone a “rebranding.” In 1879, German journalist Wilhelm Marr coined the term “antisemitism.” His goal was to turn the hatred of Jews from a theological issue into one of blood and genetics. The Jew changed from a “heretic” to a “biological threat” and an invader threatening the German race—an ideology that became the basis for Nazism and the Holocaust.

At the same time, antisemitism served as a political and economic tool. Rulers used Jews as a “scapegoat” during times of crisis. The fake document “The Protocols of the Elders of Zion” spread the conspiracy theory of global control—a lie that was also adopted in the Muslim world to fuel the struggle against Zionism.

Today, antisemitism is described as a “chameleon” coming from three directions: the extreme right (racism), the extreme left (denial of the state’s right to exist), and radical Islam.

The central arena has shifted to social networks, where algorithms that encourage engagement provide a platform for extreme content. Accusations of “genocide” and hashtags such as #HitlerWasRight are the modern incarnation of blood libels. Countries like Iran and Qatar invest fortunes in perception engineering, portraying the State of Israel as the modern-day “leper.” Today, antisemitism is a tool for destroying democratic societies; it starts with the Jews but does not stop there.

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