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A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs.
(J. The Jewish News of Northern California via JTA) — Tucked in the far corner of a large, brightly-lit exhibition hall on the ground floor of the Contemporary Jewish Museum in San Francisco, there is a delicate-looking piece of art with a strong political message.
At first glance, it appears to be three circular vases with flowers in them. The ceramic vases sit on shelves attached to the wall, and colorful collages hang above them. On closer inspection, visitors will notice that the flowers are made out of paper and that affixed to each vase is an image of the Palestinian flag printed on foam board.
A nearby label written by the curators of the exhibit, titled “Tikkun: For the Cosmos, the Community, and Ourselves,” explains that the piece was inspired by a conversation the artist, Tosha Stimage of Berkeley, had with a Palestinian man. He told Stimage about the plants that are native to Palestine — “a place which he can no longer access due to the ongoing conflict in the region,” the curators write.
The label also includes a note about the flag: “Some may find its presence at The CJM troubling or confusing, while others may find it appropriate and forthright. Stimage recognizes the potential for these divergent responses and hopes to use them as a means of generating dialogue.”
On a Sunday afternoon in October, Maury Ostroff read the label and walked away without inspecting the artwork.
Visitors to the “Tikkun” exhibit are encouraged to share their responses to the artwork via comment cards. (Andrew Esensten)
Asked how the presence of the flag made him feel, Ostroff, who is Jewish and lives in Muir Beach, in Marin County, replied, “Unhappy.”
Why?
“It’s not offensive to me in the same way that a swastika is. My skin is a little bit thicker than that. But I wish it weren’t here.”
He added, “What’s so Jewish about this? What’s so ‘tikkun olam’ about all of this?”
For the “Tikkun” exhibit, which opened Feb. 17 and runs through Jan. 8, the CJM invited both Jewish and non-Jewish Bay Area artists to contribute new works on the theme of repair, however they chose to interpret it. “No one is listening to us,” the piece by Stimage, who is not Jewish, is the first work of art featuring the Palestinian flag to be shown at CJM in recent memory; the museum could not say when or if the flag has been displayed on its walls before.
The piece prompted several internal conversations among CJM staff when it was first submitted and, since it has been on display, has generated a variety of responses from museumgoers who have left comments in a box at the entrance to the exhibit. Intentionally or not, Stimage has raised numerous questions with the artwork, including: Does a work of art that is sympathetic to the Palestinian struggle for statehood belong in a Jewish museum? And what is the role of a contemporary Jewish museum, anyway?
“To truly be a contemporary art museum, meaning embedded in the contemporary issues of our day, our job is to provide a platform for dialogue and to share a diversity of perspectives on our walls,” said Chad Coerver, CJM’s executive director since September 2021. “If any institution [like ours] took the path of withholding artwork that troubled our staff, our board or our community, it would be very difficult to mount exhibitions.”
CJM is a member of the Council of American Jewish Museums, a network of 76 museums across the country. CAJM does not have guidelines about the kind of art its member museums can and cannot display, according to Executive Director Melissa Yaverbaum.
J. reached out to several CAJM member museums in New York, Los Angeles and other places by email to ask if they had ever shown artwork with Palestinian iconography or works by Palestinian artists. The museums declined to answer or did not respond.
In recent years, two Jewish museums have been embroiled in controversy over issues relating to the Israeli-Palestinian conflict. The Spertus Institute for Jewish Learning and Leadership in Chicago staged an exhibit in 2008 on Israeli and Palestinian concepts of homeland that included maps and portraits of Palestinians. Following outcry from members of the local Jewish community who felt the exhibit presented Israel in a negative light, the museum decided to close the exhibit after only a few weeks. And in 2019, the director of the Jewish Museum Berlin resigned after the museum tweeted a link to a pro-BDS article in a German newspaper. (The museum previously came under fire for welcoming anti-Zionist scholar Judith Butler and representatives of Iran.)
In a joint interview with J., two CJM staffers who worked on “Tikkun” — co-curator Qianjin Montoya, who is not Jewish, and a Jewish senior curator who served in an advisory role, Heidi Rabben — shared the story of how Stimage’s piece came to be in the exhibit. (Montoya’s co-curator for the exhibit, Arianne Gelardin, no longer works at the museum.)
Since 2009, CJM has invited local artists from different backgrounds to create new work as part of the museum’s annual Dorothy Saxe Invitational. The idea for “Tikkun” was hatched before the pandemic put the planning process on hold. Once the CJM and Saxe — a local philanthropist and art collector — agreed on the theme, the co-curators invited artists “already engaged in healing through their relationship to community or in their practice of daily life,” Gelardin told J. last February.
The 30 artists who accepted the museum’s invitation were given only four months to conceive of and submit new works. That was likely the shortest timeline in the history of the invitational, which has been held 11 previous times, according to the museum. Each artist received a packet of materials compiled by CJM staff, with input from the Shalom Hartman Institute, a non-degree granting Jewish education center, to guide their thinking on “tikkun.”
Stimage was invited to participate because she is “very active” in the Bay Area and because “her work reflects ideas of community and connection,” Montoya said.
The curators said Stimage’s inclusion of the Palestinian flag in her submitted piece came as a surprise and prompted challenging conversations. However, they noted that they found the content of some of the other artists’ work surprising, too, and that it’s not unusual for contemporary artists to push the envelope in their work.
“I wouldn’t say we expected to receive a piece about the Israeli-Palestinian conflict, but we weren’t steering anyone away from that, either,” Rabben told J., adding that the submission guidelines did not place any topic off limits. “That’s a commitment from the museum to authentically represent the creative spirit of the artists that we’re working with,” she said.
Still, the curators said they engaged in a dialogue with Stimage in order to better understand each aspect of her piece and her overall intentions. Through those conversations, the curators learned that Stimage wanted to explore a moment of “rupture,” and that through her piece she hoped to communicate “that before healing or repair might happen, you have to first acknowledge that rupture,” Rabben said.
The Contemporary Jewish Museum in San Francisco is showing “Tikkun,” an exhibit of works by Jewish and non-Jewish artists on the theme of repair. (Andrew Esensten)
Coerver, who was involved in some of the conversations, stressed that “careful consideration” was given to including the piece in the exhibit. “We felt an artwork addressing the plight of the Palestinians was appropriate in an exhibition on healing and repair,” he said. (No work submitted as part of the Dorothy Saxe Invitational has ever been outright rejected, the museum said.)
Stimage did not respond to interview requests from J. According to a CV on her website, she was born in Jackson, Mississippi, and earned an MFA from California College of the Arts in 2016. She is a past fellow at the Yerba Buena Center for the Arts in San Francisco and was an artist-in-residence at Facebook in 2018. She also owns a floral gift shop in Oakland called Saint Flora.
Her work often touches on Black identity; she created a piece honoring Sandra Bland, an African-American woman whose 2015 arrest and death in a Texas jail cell sparked protests, and contributed to a 2019 San Francisco Art Institute exhibit on the Black Panther Party.
“I have a responsibility to create things that will, to the best of my present knowledge, do more good than harm, heal, inspire and uplift other humans,” she told the San Francisco Bay View National Black Newspaper in 2015.
Stimage’s precise views on Israel are unknown. CJM referred J. to her artist statement for “No one is listening to us,” which reads: “Olive, sage, and sumac are flowering plants native to the Mediterranean (including regions of Gaza and the West Bank) that have a direct relationship to contested ancestral land and affect the livelihood of so many Palestinian farmers and families caught in the conflict. They are positioned in the space of The Contemporary Jewish Museum as a metaphor for the ongoing conflict over land rights and the desperate need for restoration and healing of an age-old wound.”
The curators told J. that during their conversations with Stimage about her piece, they asked her why including images of the Palestinian flag was important to her but did not request that she remove them.
“We determined that none of [the piece’s] components in and of themselves signified something problematic or concerning,” Rabben said. “Of course, we had the awareness that the symbol [of the flag] will be read in a variety of ways by a variety of people.”
(Rabben pointed out that the exhibit includes other works with national symbols rendered in provocative ways, such as a black-and-white photograph of an American flag that was torn apart and partially reassembled by Mexican-American artist Jose Arias.)
The Palestinian flag — which contains the Pan-Arab colors of black, white, green and red — was adopted by the Palestine Liberation Organization in 1964. Since then, it has been the primary symbol of Palestinian nationalism.
For decades, the PLO was considered an enemy organization by Israel, and anything associated with it “had no place in Israeli public life,” said Eran Kaplan, an Israeli-born professor of Israel studies at San Francisco State University. Israel never went so far as to ban the flag. However, during the First Intifada, which lasted from 1987 to 1993, Israeli soldiers sometimes followed orders to confiscate the flag from protesters in the West Bank and Gaza.
With the signing of the Oslo Accord in 1993, Israel and the PLO recognized each other as negotiating partners. Yet the Palestinian flag remains a contentious symbol in Israel today. Kaplan noted that it recently served as a flashpoint during the funeral procession of Shireen Abu Akleh, the Palestinian American broadcaster who was killed in the West Bank in May. (The IDF conducted a review and admitted that the Israeli soldier who shot her had most likely misidentified her as an armed militant.) After warning Abu Akleh’s family not to display the flag, Israeli police attacked mourners in East Jerusalem, ripping flags out of their hands and off of the vehicle carrying her casket.
Today, the flag holds different meanings for Israelis and American Jews from different generations and political persuasions.
“There are large segments in Israeli society who view any form of Palestinian national identity as a threat to the existence of Israel,” Kaplan said. “There are others who view the PLO as legitimate partners in any form of negotiations [over the creation of a Palestinian state], but there’s an absolute split over those questions.”
Given the sensitive nature of Stimage’s work and others in the exhibit, the curators decided to solicit feedback from visitors via comment cards available at the entrance to the hall. Rabben said the museum has received a number of comments specifically about “No one is listening to us,” most of which were positive. “The majority of those comments were ‘Thank you for offering space for this topic at the museum,’” she said.
Last month, a security guard sitting in the “Tikkun” exhibition hall told a reporter that he had not witnessed any expressions of outrage or protest through the first nine months of the exhibit. “When we opened we were afraid of negative reactions, but they’re not stressed about it,” he said of visitors. “We have shown worse things here.” The guard, who has worked at the museum since it opened in 2008, mentioned a 2010 exhibit, “Our Struggle: Responding to Mein Kampf,” which included a copy of Hitler’s autobiography. “Some people were cussing us out” for displaying the book, he recalled.
Meanwhile, on the same floor as “Tikkun,” there is another, smaller exhibit containing potentially offensive art. A sign outside of the room warns visitors that inside is a Hitler marionette created by the parents of puppeteer Frank Oz. “Our intention in displaying this object is to keep the memory of the Holocaust alive through the objects and firsthand stories of those who experienced its persecution, and to encourage conversation and education about the ongoing horrors of antisemitism and authoritarianism today,” the sign says.
Coerver, CJM’s executive director, said he was proud that the museum’s three current exhibits — “Tikkun,” “Oz is for Oznowicz: A Puppet Family’s History” and “Gillian Laub: Family Matters,” which includes photographs that Laub took of her Trump-supporting relatives — are raising “challenging questions” and providing opportunities for both visitors and museum staff to “expand our horizons.”
“We’ve been wading into some issues that I think are a little thicker than maybe we’ve been confronting in the past,” he said, “and I hope that continues.”
A version of this piece originally ran in J. The Jewish News of Northern California, and is reprinted with permission.
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The post A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs. appeared first on Jewish Telegraphic Agency.
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The stepchildren in the upcoming Israeli elections
דעם 27סטן אָקטאָבער וועלן פֿאָרקומען די וואַלן אין ישׂראל. 38 פּאָליטישע פּאַרטייען האָבן זיך פֿאַרשריבן צו פּרובירן געווינען וואָס מער פֿון די 120 מעגלעכע ערטער אין דער כּנסת. אין די פֿריערדיקע וואַלן, האָבן קאַנדידירט 40 פּאַרטייען. לויט דעם געזעץ, מוז מען געווינען גענוג וואַלן אויף כאָטש פֿיר (4) דעפּוטאַטן — דאָס הייסט 3.25% פֿון דעם סך־הכּל פֿון אַלע מענטשן וואָס האָבן אָנגעגעבן „כּשרע“ שטימעס.
אין די פֿריערדיקע וואַלן האָבן 70.83% פֿון אַלע בירגער אין לאַנד מיט שטימרעכט (4,764,742 פֿון 6,788,804) דערמעגלעכט 10 פֿון 40 פּאַרטייען אַרײַנצוטרעטן אין דער כּנסת. דעמאָלט האָט מען געדאַרפֿט האָבן בערך 153,000 שטימען כּדי אַ פּאַרטיי זאָל קענען אַרײַנפֿירן זייערע ערשטע פֿיר דעפּוטאַטן אין דער כּנסת. הײַנט, מיט 4 יאָר שפּעטער, וועט מען מסתּמא דאַרפֿן באַקומען נעענטער צו 200,000 שטימען.
ווי עס זאָל ניט זײַן, קעמפֿן די גרויסע פּאַרטייען פֿאַר יעדער שטימע, און באַמיען זיך פּטור צו ווערן און דערשטיקן די מעגלעכקייטן פֿון יענע קלענערע פּאַרטייען וואָס וועלן אפֿשר ניט דערגיין צו דעם מינימום פֿון 3.75% — און דערבײַ ׳אַוועקפּטרן׳ שטימען פֿון זייערע טראַדיציאָנעלע, סעקטאָריאַלע שטיצערס (למשל פֿרומע-פֿרײַע, רעכטע-לינקע, ייִדן-ניט-ייִדן).
הײַ-יאָר איז בכלל אַ גרויסער מיש-מאַש פֿון פּאַרטייען. פֿאַראַן נײַע שפּילערס וואָס ענדערן דאָס דעמאָגראַפֿישע און סעקטאָריאַלע פּנים פֿון געוויסע טראַדיציאָנאַלע פּאַרטייען, אָדער פֿון נײַע פּאַרטייען וואָס זײַנען ערשט אויפֿגעקומען. למשל, צו דער אַראַבישער/איסלאַמישער פּאַרטיי „רע׳ם“ האָט זיך צוגעשטעלט אַ ייִד — יואבֿ סגלוביץ (סעגאַלאָוויטש) — וואָס איז אַ געוועזענער הויפּט פֿון דער ישׂראל־פּאָליציי, אַ פֿיגור מיט וויכטיקע דערגרייכונגען.
„עמך ישראל“ – שטיפֿקינד פֿון די רעכטע
אויף דער רעכטער זײַט פֿון דער פּאָליטישער מאַפּע איז אַנטשטאַנען אַ נײַע פּאַרטיי, „עמך ישראל“, פֿון עופֿר ווינטער, אַ געוועזענער גענעראַל־בריגאַדיר. זײַן שותּף, דער צווייטער אין זײַן רשימה, איז יוסוף חדד (כאַדאַד), אַ קריסטלעכער אַראַבער וואָס איז אין דער צײַט פֿון דער צווייטער לבֿנון־מלחמה פֿון 2006, געווען אַן אָפֿיציר אין דער גולני דיוויזיע פֿון צה״ל. קעמפֿנדיק פֿאַר ישׂראל, איז ער שטאַרק פֿאַרוווּנדיקט געוואָרן. ער איז אויך באַקאַנט אויף דער סאָציאַלער מעדיאַ בײַם העלדיש פֿאַרטיידיקן מדינת־ישׂראל קעגן אַנטי-ציוניסטן און אַנטיסעמיטן. ווינטערס ציל איז, אַרײַנברענגען פֿרישע בלוט אין די רייען פֿון די רעכט-געשטימטע פּאַרטייען.
די פּאַרטיי ווערט פּראָיעקטירט צוצונעמען שטימען פֿון דער גרעסערער „ליכּוד“־פּאַרטיי, געפֿירט פֿון בנימין נתּניהו. לויט די מערסטע שטים־אַנטקעטעס ביז הײַנט, וועט „עמך ישראל“ ניט דערגרייכן די געהעריקע 3.75% און אַלע שטימען וועלן דערפֿאַר פֿאַרלוירן גיין. עס ווערט דעריבער איצט געפֿירט אַ גאָר שטאַרקע אַקציע פֿון דער ליכּוד פּאַרטיי אַז „עמך ישראל“ (און אויך נאָך עטלעכע קליינע רעכט-געשטימטע פּאַרטייען) זאָל זיך אָפּזאָגן פֿון אָנטיילנעמען אין די וואַלן. עופר ווינטערס קעגנערס האָבן שוין מצליח געווען אָפּצושרעקן איינעם פֿון די 4 וויכטיקסטע קאַנדידאַטן פֿון „עמך ישראל“, וואָס האָט זיך די טעג אָפּגעזאָגט פֿון קאַנדידירן.
„מילואימניקים„ (רעזערוויסטן) מיט „כּלכּלית„ (עקאָנאָמיע) – „וואָס“, ניט „ווער“
ווען מע קוקט אויף אַ גראַפֿיש בילד פֿון ווי די 120 כּנסת־ערטער ווערן אײַנגעטיילט צווישן די פֿאַרשיידענע פּאַרטייען — לויט די טעגלעכע שטים־אַנטקעטעס — זעט מען דאָס אײַנגעטיילט אויף דרײַ חלקים. פֿון איין זײַט, זעט מען די מעגלעכע צאָל קאַנדידאַטן פֿון דער איצטיקער קאָאַליציע (וואָס נעמט אַרײַן „ליכּוד„ צוזאַמען מיט די חרדישע און אַנדערע רעכט־געשטימטע פּאַרטייען). פֿון דער אַנדערער זײַט, זעט מען די צאָל מעגלעכע קעגנער (סײַ צענטריסטישע, סײַ לינקע, סײַ רעכטע פּאַרטייען) וואָס ווילן פֿאַרבײַטן די איצטיקע רעגירונג פֿון נתּניהון. דער דריטער בלאָק באַשטייט פֿון די אַראַבישע פּאַרטייען. פֿאַראַן אָבער — אין געוויסע פֿון די דיאַגראַמעס — אַ פֿערטע גרופּע, וואָס געהערט צו אַ ספּעציפֿישער פּאַרטיי וואָס פֿירט גאָר אַן אַנדערע פּאָליטיק פֿון די אַנדערע.
צוויי נײַע פּאַרטייען לייגן אָבער פֿאָר עפּעס גאָר אַנדערש פֿון די טראַדיציאָנאַלע רעכטע און לינקע פּאַרטייען: יועז הנדל (יאָאַז הענדל) פֿון דער „המילואימניקים“ (רעזערוויסטן) פּאַרטיי בשותפֿות מיט ירון זליכה (זאַליכאַ) פֿון דער „הכּלכּלית„ (עקאָנאָמיע) פּאַרטיי. זיי וואַרפֿן אָפּ די פּאָלאַריזירטע געדאַנקען און האָבן אֶ פּלאַטפֿאָרמע וועלכע שטעלט דעם טראָפּ אויף „וואָס“ מע דאַרף טאָן. דעם „ווער“ עס דאַרף דאָס אַדורכפֿירן איז ווייניקער וויכטיק – ספּעציעל וואָס אין דער הײַנטיקער פּאָליטיק איז שוין ניט קלאָר ווער עס איז אויף וועלכער זײַט פֿונעם פּאָליטישן ספּעקטרום.
די פּאַרטיי האָט זיך פֿון אָנהייב געוואַקלט בײַ 3.75%, אָבער אין די לעצטע וואַל-אַנקעטעס זעט אויס אַז זיי וועלן ניט נאָר דערגרייכן די געוווּנטשענע פֿיר דעפּוטאַטן, נאָר זיי שטרעבן אויף אַפֿילו נאָך מער. דאָס קען גוט זײַן דערפֿאַר, וואָס צו דער רעזערוויסטן־פּאַרטיי איז צוגעשטאַנען עינת ווילף — אַ באַגאַבטע פֿיגור וואָס איז זייער אָפֿן־האַרציק מיט אירע געדאַנקען. (מע קען זי אָפֿט טרעפֿן אויף דער סאָציאַלער מעדיאַ פאַרטיידיקנדיק מדינת־ישׂראל קעגן אונדזערע שׂונאים).
ווילף האָט אַליין געשאַפֿן אַ פּאָליטישע פּאַרטיי „עוֹז“ וואָס איז זייער ציוניסטיש געשטימט, און וועמענס אידעאָלאָגיע פּאַסט זיך גוט צו צו די פֿון אירע שותּפים הענדל און זליכה. יעדער ישׂראלדיקער בירגער דאַרף דורכמאַכן אַ מדינה־דינסט (ניט דווקא אַ מיליטערישע): מענער און פֿרויען, ייִדן, און ניט-ייִדן. זי דריקט אויך אויס אַנדערע געדאַנקען ווי אַזוי צו פֿאַרבעסערן דעם מצב סײַ וואָס שײַך דער זיכערקייט, סײַ דערציִונג, סײַ דער ישׂראלדיקער עקאָנאָמיע. איר פּאַרטייס נאָמען, „עוֹז“, איז אינספּירירט פֿון די ווערטער „יהוה עוז לעמו יתן יהוה יברך את עמו בשלום“ (ספֿר תּהילים) …
און נאָך אַ זאַך: יועז הענדלס פּאַרטיי, „די פֿאַראייניקטע ליסטע“, איז די איינציקע, אויף וויפֿל מיר ווייסן, וואָס האָט אַ לאָזונג אויף ייִדיש. אין אַ געוויסן זינען קלינגט עס ווי עפּעס, וואָס דער אַמעריקאַנער פּרעזידענט דזשאָן עף. קענעדי וואָלט געזאָגט: „פֿרעגט ניט ׳ווער׳, נאָר ׳וואָס׳ מע מוז טאָן פאַר דער מדינה.“
The post The stepchildren in the upcoming Israeli elections appeared first on The Forward.
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In Oct. 7 blame game, former Shin Bet chief sues Netanyahu ahead of elections
(JTA) — The bitter battle that has raged between Israel’s security and political establishments over who bears responsibility for the failures ahead of the Oct. 7 attacks is kicking into high gear as Israel prepares to hold its first election since the Hamas invasion in 2023.
This week, former Shin Bet chief Ronen Bar upped the stakes by filing a defamation lawsuit against Israeli Prime Minister Benjamin Netanyahu. The premier has blamed the intelligence head for the failures leading up to the attack even as many in the security establishment have pointed the finger at Netanyahu. Bar in his lawsuit lists a litany of occasions Netanyahu allegedly ignored or rejected advice that might have prevented the attacks.
In the run-up to the national vote on Oct. 27, Israeli media have been preoccupied with reports of intelligence that was purportedly shared with top government officials ahead of the attacks. What Netanyahu knew about the Hamas threat before the invasion — and when he knew it — has become a central issue in the campaign and a line of attack for his political rivals.
Gadi Eisenkot, leader of the Yashar party and Netanyahu’s leading challenger, said in response to the lawsuit that “Netanyahu was warned and did not act,” and that he would not allow Netanyahu to “evade the truth.” Opposition leader Yair Lapid said that “Netanyahu can no longer claim that he didn’t know,” while Yair Golan, leader of the left-wing “The Democrats” party, said Netanyahu’s responsibility for “the worst massacre in Israel’s history is direct and clear.”
A range of political and security leaders who were in charge at the time have assumed responsibility and left their posts: Among them are Bar, IDF Chief of Staff Herzi Halevi, Defense Minister Yoav Gallant and military intelligence chief Aharon Haliva.
Not Netanyahu. He has rejected accusations that he is responsible for the failures even as he has prevented the establishment of a state commission of inquiry to investigate those responsible. He has argued that such a commission, whose members would be appointed by the president of the Supreme Court, as is traditionally the case in Israel, would be biased and would not enjoy public trust.
Beyond blaming the security establishment, Netanyahu has also sought to shift responsibility onto political rivals and previous governments. He has pointed to the actions, or failure to act, of political opponents, including Eisenkot, Naftali Bennett and Benny Gantz, when they held senior positions, as well as Israel’s 2005 withdrawal from the Gaza Strip, as factors that contributed to the Oct. 7 massacre.
In the lawsuit itself, Bar accuses Netanyahu of “trying to rewrite history and completely evade his responsibility for the events of Oct. 7.” The filing sets out a series of alleged warnings Bar gave Netanyahu before the attack, as well as Netanyahu’s alleged refusal to adopt Bar’s recommendations for offensive action in the months leading up to the massacre.
The lawsuit details more than a dozen instances in which Bar allegedly warned of Hamas’ growing strength and its intentions to attack Israel, alongside repeated recommendations that Netanyahu take more aggressive action against the group.
Among the warnings cited in the lawsuit, Bar said he presented Netanyahu in January of 2023 with his assessment that Hamas leader Yahya Sinwar wanted a multifront campaign against Israel.
In February, Bar allegedly sent Netanyahu a personal letter warning that terrorist organizations saw an opportunity to act and that the combination of Israel’s internal divisions and instability in the Palestinian arena could bring the country closer to a “perfect storm.”
In July, Bar said he told Netanyahu directly that he was conveying a strategic warning of war.
In September, he allegedly warned that Hamas wanted to escalate the conflict during October.
Netanyahu responded to the lawsuit in a post on X, addressing one specific claim in the filing: that he had never given Bar his personal phone number.
“Ronen, are you serious? You had my red phone number and could have called me immediately, as all heads of the security establishment do,” Netanyahu wrote. “How many lives could we have saved if only you had called in time.” Netanyahu has claimed recently that had security officials awoken him earlier on Oct. 7, he would have somehow stemmed the attack.
Bar’s suit also alleges that he consistently recommended initiating offensive operations against Hamas, including a “preemptive strike” and targeted killings. According to the lawsuit, Netanyahu strongly opposed those recommendations because he wanted to keep Hamas as a secondary concern. Bar also said Netanyahu reprimanded him for dealing with “strategy.”
“The defendant had been in a state of slumber for many long months beforehand and refused to wake up despite the alarm bells the plaintiff sounded in his ears incessantly,” the lawsuit alleges, alluding to Netanyahu’s plaints that he was not awoken early on Oct. 7. “The gap between the professional warnings and recommendations the plaintiff presented to the defendant and the response the defendant gave them is beyond comprehension.”
The defamation claim focuses in particular on a post Netanyahu published on X late last month, in which he claimed that Bar “knew about the real danger” in the early hours of Oct. 7 but chose not to wake him or take other preventive measures. Netanyahu accused Bar of trying to shift responsibility for “all of Ronen Bar’s failures and crimes” onto him.
In a press statement after filing the suit Wednesday, Bar called Netanyahu’s post a “blood libel” and announced that he was suing for 3 million shekels ($968,500) in damages and seeking a correction of Netanyahu’s statements.
Bar repeatedly emphasized in the lawsuit that he was not seeking to absolve himself or the Shin Bet of responsibility for the failures that led to the Oct. 7 massacre. Rather, he said, the suit was a response to Netanyahu’s attempt to “shift the responsibility exclusively onto Bar.”
“I waited quietly for three years for the establishment of a commission of inquiry that would finally expose the Shin Bet’s work, alongside its failures, in the face of an ongoing blood libel,” Bar said.
This article originally appeared on JTA.org.
The post In Oct. 7 blame game, former Shin Bet chief sues Netanyahu ahead of elections appeared first on The Forward.
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When ‘Nuke Jews, Save Lives’ note was left at the Center for Jewish History, its message was a window into antisemitic thinking
As hate manifestoes go, this one was terse: “Nuke Jews, Save Lives.”
Our security team at the Center for Jewish History, where I serve as president, recently discovered a notecard bearing this hateful message by our front entrance, just blocks from Union Square in Manhattan.
The Center for Jewish History was created a quarter century ago to help scholars research the Jewish past and disseminate that knowledge to the public. An institution that is sometimes likened to the national archives of Diaspora Jewry, the Center houses more than 65 million documents and artifacts painstakingly collected by its distinguished partner organizations. Countless books and articles on Jewish history have been published using this archival source material, all pursuing the goal of historical understanding.
This hateful note was a direct rebuke to our mission and a window into antisemitic thinking. The declaration confirmed antisemites’ tendency to see their hatred as virtuous. By claiming that “saving lives” was their ultimate goal, the author sought to avoid any suspicion of ulterior motives. Hitler did something similar in Mein Kampf, writing that by combating the Jews he was “fighting for the work of the Lord.”
The historical record also teaches that while the charges brought by antisemites against Jews vary considerably, they serve a consistent function. Whatever threat Jews are accused of posing – whatever the reason why “lives” need to be “saved” – the accusation channels society’s deeper fears. These fears often differ between the left and right political positions, but they converge in the antisemite’s belief that a solution rests with solving the Jewish “problem.”
Jews have traditionally believed that understanding history can solve the problem of antisemitism. From antiquity to modernity, Jews have penned eloquent, historically informed rebuttals to antisemitic accusations, believing that public opinion can be swayed by truth. Whether Flavius Josephus’s reply to the hostile claims of the Egyptian scholar, Apion, in the first century C. E. or the Central Association of German Citizens of the Jewish Faith’s response to the Nazis in the 1930s, history shows that Jews have consistently sought to defend themselves through rational argument.
The Center for Jewish History is no different. We regularly organize public programs on a range of topics in the interest of fostering knowledge and dialogue. Of late, out of necessity, we have been sponsoring events that address the history of antisemitism.
Shortly before the hateful note was left on our doorstep, the Silicon Valley investor, Michael Moritz, was in conversation with The New York Times Company CEO, Meredith Kopit Levien, about his new book, Ausländer, which movingly chronicles the tragic story of his German Jewish family in the Nazi era. The book also raises discomforting comparisons about Jew hatred yesterday and today.
The event was a bittersweet affair. While we were gratified that our fully packed auditorium validated our institutional mission, the conversation’s main takeaway – that what was old is new again – was sobering.
That feeling was further compounded when we encountered the words, “Nuke Jews, Save Lives,” one week later. We could easily have thrown up our hands in despair at the futility of our mission. That, of course, would have served the antisemite’s goal.
Antisemitism’s impact is akin to that of the heckler’s veto. By wielding crude, simplistic slogans in the spirit of Der Stürmer’s tagline, “The Jews Are Our Misfortune,” antisemites use hate asymmetrically to undermine cultural and intellectual traditions assembled over centuries.
Antisemitism validates the core idea of Brandolini’s Law – that the work needed to refute calumnies dramatically exceeds the work needed to disseminate them. It calls to mind Edmund Burke’s remark in Reflections on the Revolution in France that “rage and phrensy will pull down more in half an hour, than prudence, deliberation, and foresight can build up in a hundred years.”
But my money is on archives.
The 65 million documents housed at the Center do not just numerically exceed the four hateful words left on our doorstep many times over. They testify to the authority of archives. Ever since they were invented in antiquity, archives have wielded tremendous power. Not for nothing does its Greek root, “arch,” denote “ruler” (as in “monarch”).
When belief in truth is challenged by a flood of lies, the archive offers a redoubt. It guards the facticity of history so that people of good faith can defend themselves against their enemies.
The campaign against antisemitism is complex and requires arguments and allies, resources and resolve. It cannot be won easily and may never be won decisively. But one thing is for sure: it cannot be won without facts. In this latest war, the archive can serve as an arsenal.
The post When ‘Nuke Jews, Save Lives’ note was left at the Center for Jewish History, its message was a window into antisemitic thinking appeared first on The Forward.
