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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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Why is JD Vance talking about the Antichrist?

JD Vance said he might be bringing about the End Times, adding that he would not be “shocked if the Antichrist was walking among us.”

Vance was speaking on the Christian YouTube show The Bryce Crawford Podcast about his memoir, Communion, which covers his conversion to Catholicism from Protestantism.

Numerous Catholics online reacted to his statements with confusion and frustration, saying that the ideas about the apocalypse Vance voiced are not central parts of Catholicism. While Catholicism does discuss the idea of the Second Coming, a time in which Christians believe Jesus will return to Earth, the Catholic Church Catechism — the Vatican’s official statements and teachings about the fundamentals of the religion — says that “we are already at ‘the last hour’” ever since Jesus died; the Antichrist is mentioned only briefly as a “a pseudo-messianism by which man glorifies himself in place of God,” not as a specific person who will come to the world.

The Antichrist and Armageddon, however, take center stage in many Evangelical churches, where these concepts often drive other extremist ideas, such as labeling politicians the Antichrist — at one point during the Obama administration, a poll found that one in four Americans thought the president might be the Antichrist — as well as Christian Zionism, an attempt to get all Jews to return to Jerusalem to hasten the apocalypse, when many believe Jews will be sent to Hell.

As one snarky Catholic commenter put it, Vance’s apocalypse-heavy discussion of his Catholicism sounded like “three evangelicals in a trench coat.”

It also sounded a lot like Peter Thiel, the billionaire Palantir founder and Vance’s mentor, donor and former employer. Thiel has a famed obsession with the Antichrist; earlier this year, several Catholic institutions distanced themselves from a series of lectures Thiel gave in Rome on the topic. Vance cited Thiel as an influence on his conversion in an essay about why he chose Catholicism, despite the fact that Thiel is not Catholic.

Thiel’s thinking on the Antichrist is esoteric and rambling, but it borrows heavily from that of Carl Schmitt, a Nazi jurist who also wrote at length about the apocalypse. Schmitt, a lapsed Catholic, argued that a “satanic unification of the world” would be brought about by a globalist Antichrist, and supported Hitler because he believed that he would keep the world safely fragmented. Thiel’s own discussion of the Antichrist largely equates the figure with those fearful about climate change, AI and other ideas usually associated with progressive politics.

Vance, who grew up in an Evangelical Christian household in which his “Meemaw” read the bible daily and watched televangelist Billy Graham, has upset Catholics in the past, particularly when he implied that Pope Leo XIV’s theological interpretations were incorrect after the pope made a statement against the U.S. war with Iran.

“I think it’s very, very important for the pope to be careful when he talks about matters of theology,” Vance said at a Turning Point USA event in April, responding to Pope Leo’s comments. “You’ve got to make sure it’s anchored in the truth and that’s one of the things that I try to do and it’s certainly something I would expect from the clergy.”

In the Catholic Church, the pope’s word is infallible when it comes to official church teachings, and Vance’s boldness was offensive to many Catholics.

Vance’s version of Catholicism — one in which he pushes back against the head of the Church and brings in theological ideas foreign to most Catholics — is notable because it represents an increasingly visible ideological schism in the Church. On one side are Catholics committed to the Vatican, and who have been influenced by the liberalism of recent papal teachings. On the other is a growing movement of traditionalist Catholics, who are increasingly skeptical of the institution of the Church and its recent — and not so recent — theological changes, and are looking to other sources for inspiration.

Those changes have included Vatican II, a groundbreaking set of updates to Church teachings made in the 1960s that famously mandated increased tolerance and respect for other religions, particularly Judaism; the church repudiated antisemitism, Christian nationalism and coercive proselytizing. These were controversial moves, however, which led some Catholic movements to reject the document.

Voices suspicious of the Vatican’s more liberal ideas are getting bolder, and louder. The founder of the Society of Saint Pius X, Marcel Lefebvre, rejected Vatican II in large part based on its espousal of religious liberty; just this summer, the group was excommunicated after it ordained four bishops without the Vatican’s permission. In parallel, highly visible Catholic influencers are increasingly becoming the face of the Church for many young people, yet their theology is often only loosely based on the Vatican’s current teachings, and often reaches back to older, more antisemitic ideas the church has since disavowed.

Vance’s stated breaks with the Vatican and Catholic teaching are not overtly about religious tolerance or liberty. But they are a sign of the increasing acceptability of rejecting, or simply ignoring, the teachings of the Vatican and the pope — and, perhaps, of looking to other sources, like Thiel, for theology. The Catholic church is far from perfect, but the more acceptable it becomes to ignore the Vatican, the easier it becomes to declare almost anything — opposing progressive politics, endorsing Christian nationalism or spreading antisemitism — to be part of Catholicism, no matter what the pope says.

The post Why is JD Vance talking about the Antichrist? appeared first on The Forward.

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How I learned to stop worrying and love my Jewish curls

When I was a kid, my hair was a constant battle. By the time I was in elementary school, my hair went past my waist, and every time my parents decided it was time for a trim — which my dad performed — I resisted strenuously, and after just a few inches were removed, I often cried that it was too short. Every day, one of my parents fought through my hair’s snarls with an old, wooden-handled boar-bristle brush. At least every day until the handle snapped off mid-yank. Then we used a newer, but just-as-fine-bristled version.

But even after I started doing my own hair, and eventually cut it to a more reasonable length, the battle about presentability continued. My mom nagged me constantly, before every event, every dinner party and every time I left the house, to brush my hair. She carried around a purse-sized brush that folded up for her own mid-day hair-brushing needs, and for a while, I did the same. At some point in high school, I got a flat iron to better tame the frizz and messiness that I was constantly trying to brush out, and wound it into a tight, coiled bun while it was still soaking wet to let it dry ruthlessly contained. (This worked, but meant it took about 12 hours to dry.)

My mother treats her hair with the same frustration she had towards mine. She still regularly pulls out that purse brush and frowns at herself in a compact mirror as she pulls it through her hair. My entire life, she has complained that her hair is too big, too frizzy. She reminisced about her year clerking for a judge in Los Angeles, where there wasn’t so much humidity and her hair would finally stay flat.

I thought we both had straight hair that, frustratingly, never acted straight. Or, perhaps more accurately, I had internalized that it would be better if I had straight hair, so much better that the idea it might not be straight never even crossed my mind. This was the ‘90s and early 2000s, and there was an obvious ideal we were both striving for: the kind of straight, glossy hair in TV ads for shampoo. The hair of Jennifer Aniston in Friends. (I got “the Rachel” at one point. Unsurprisingly, it never looked quite right.)

But as I came to realize — in what, looking back, was an astonishingly slow process given the evidence at hand — my hair is not straight. It’s curly! Brushing it never tamed it or helped with frizz, because if you brush out curls, they simply grow larger and frizzier.

In retrospect, this shouldn’t have been so surprising. While there’s no one way to look Jewish and plenty of Jews don’t fit the stereotypes — I’m blonde! — curly hair is a common part of the profile, hence longstanding stereotypes about Jewfros and big, curly Jewish hair are there for a reason. Those negative stereotypes are part of why Jewish women have attempted for decades to fight their hair with keratin treatments or flat irons so that they could look more “American,” more professional, more groomed, more “normal.” Much in the same way that, for several generations, nose jobs have been de rigueur for many Jewish women.

Slowly, I started to realize that maybe my hair wasn’t actually straight, and would look better if I started trying to enhance my curls instead of working against them. I started getting compliments. In college, for her art major thesis project, one of my friends asked if she could draw my hair, sketching out each individual strand.

I wish that I’d figured my hair out earlier; it would have saved me some awkward phases and, more importantly, some resentment about why my hair never looked like it was “supposed” to. I don’t purport to have the same kind of hair trauma as Black girls, some of whom grew up getting burned by hot combs and chemical straightening treatments, or who have been forbidden from wearing their natural hair in schools or workplaces. Nevertheless, the underlying idea is the same: that curlier hair is not neutral. It’s messier or, as my mom put it when I called her to fact check this piece, “less polished.”

These ideas are nothing new; they’ve been passed down through the generations. My grandmother certainly always wanted to seem sophisticated, and she didn’t associate that aesthetic with Jewishness; though her mother spoke Yiddish, she exorcised it from her own vocabulary to such an extent that she used to joke that I knew more Yiddish than she did. She got rid of her Jewish nose, too, and got her hair professionally washed and blown out every week with such devotion that I have no idea what its natural state was. She passed the same ideas down to my mom, who still uses that flat iron I bought in high school.

Today, there’s a whole world of videos online of products and routines meant to deal with various types of curls. I get served videos about different types of curls I am pretty sure were invented in the last two years — “Irish curls” and “Appalachian curls” — and how to perfect the Curly Girl Method to define your exact pattern of waves or coils. Society seems to be more willing to embrace different hair textures (and, not unrelatedly, unique facial features like arched noses too).

These days, I find curly hair beautiful; if anything, I wish my curls were curlier. I use a curl serum. I scrunch my hair up to help my curls take shape instead of trying to stretch them down and flatten them. Now my hair is a mix of ringlets and waves, and my hair stylist always asks me if I want her to blow it out straight or style it curly and natural; I always choose the latter. I don’t even own a brush anymore — I just detangle my curls with my fingers.

Every time I see my mom, though, she still tells me to brush it.

The post How I learned to stop worrying and love my Jewish curls appeared first on The Forward.

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In upcoming Israeli election, Netanyahu is preparing to blame a loss on conspiracy

On the morning of Oct. 7, 2023, retired Maj. Gen. Yair Golan woke to sirens and reports of something terrible happening in southern Israel. At around 8 a.m., as the scale of the Hamas invasion was becoming clear, the former deputy chief of staff told his wife he had to go back to the army, found his old military gear, got dressed and left home. He first drove to the Home Front Command headquarters where he grasped the dimensions of the catastrophe, obtained a weapon, vest and helmet, and continued south in his private car.

Eventually Golan began receiving the locations of young people hiding from Hamas gunmen around the Nova music festival and drove into the fields looking for them. Oz Davidian, the farmer who became one of the civilian heroes of Oct. 7, encountered Golan in a tiny Toyota Yaris that could not cross a ravine. Davidian helped him across in his truck; Golan covered him with his rifle, and together they went looking for three young people hiding from terrorist fire. Golan would ultimately rescue six survivors in three trips.

His actions became one of the day’s extraordinary stories of individual initiative amid the collapse of the Israeli state: a 61-year-old retired general – who currently heads the Democrats, a liberal opposition party dedicated to peace with the Arabs – put on his uniform, climbed into a Toyota and went looking for kids who needed saving. Israeli Prime Minister Benjamin Netanyahu, on that dark Saturday, was not heard from until the evening.

Almost three years later, Sara Netanyahu has discovered something sinister in this story.

“When you’re a military man of such high rank,” the prime minister’s wife said in an interview Monday on the fiercely pro-Netanyahu Channel 14, “already early in the morning you were there, already dressed and ready at a very, very early hour when others didn’t know, such as the prime minister?”

She followed this with a sarcastic question: “Who is the prime minister anyway to know that a war is breaking out? Why let him know?”

Asked directly about the increasingly popular theory that there had been “treason” from within Israel on Oct. 7, she left the possibility hanging, saying she wanted a genuine commission of inquiry to establish what happened.

It is the prime minister, of course, who has blocked an inquiry commission. It’s also Netanyahu who in the months preceding the attack refused to meet with the heads of the military, the Mossad and the Shin Bet, who were desperate to warn him that the uproar created by his authoritarian reforms was projecting weakness and inviting attack. Netanyahu is the author of the theory that there is value in Hamas ruling Gaza, since it undermines the West-Bank-based Palestinian Authority. It was his far-right political allies who were planning provocations against Palestinians in the West Bank on Oct. 7, causing the military to divert massive resources there, leaving the Gaza border catastrophically under-guarded.

With the Oct. 27 election fast approaching, Sara Netanyahu’s interview has become the talk of Israeli politics. In the strange calculus of the Netanyahu machine, it hardly matters that the claims make no sense – since there is no dispute about Golan’s aim that day: to fight Hamas and not assist it. There is a bizarre value in the very incoherence – the more confusion, somehow, the better (even if the cost is undermining public faith in the security establishment, in a country facing existential security threats).

Golan threatened to sue Netanyahu for 2.5 million shekels (about $800,000) for defamation and demanded an apology. Netanyahu responded with a demand that Golan apologize to her and threatened a million-shekel countersuit. Opposition politician Avigdor Lieberman, the former defense minister, congratulated Golan for fighting back and described people who spread such conspiracy theories as “psychopaths.”

The uproar reflects a common understanding of the insinuation: Sara Netanyahu was invoking a conspiratorial universe that has been expanding on the Israeli right since the massacre. According to this conspiracy, Oct. 7 represented something more sinister than a catastrophic intelligence and military failure. In this universe, somebody inside Israel betrayed the country.

The theory comes in many variations. Senior officers knew what was coming. The Shin Bet knew. The generals deliberately kept Netanyahu in the dark. Leaders of the anti-government protest movement were somehow involved. Elements of a hostile “deep state” wanted Hamas to humiliate Netanyahu and bring down his government. The genuine mysteries, warnings and failures preceding the massacre supply endless material from which insinuations can be fashioned, transforming the most devastating security failure in Israeli history into a story of deliberate betrayal by Netanyahu’s domestic enemies.

The betrayal theory has steadily traveled from social media and fringe broadcasters toward the political mainstream. A Reichman University survey previously found that almost a third of Israelis believed to some degree that elements within Israel assisted Hamas in order to harm Netanyahu. Likud Knesset member Tally Gotliv has accused security officials, protest leaders and other political enemies of varieties of treachery, while the prime minister’s son Yair has repeatedly promoted suspicions about the security establishment’s conduct surrounding the attack.

From conspiracy to campaign

This week brought the conspiracy theory directly into the election campaign. Channel 12 political correspondent Daphna Liel reported, citing a Likud source, that an intentional campaign is underway to promote Oct. 7 conspiracy theories in order to distance Netanyahu from responsibility for the massacre “at all costs.”

Golan himself described the same pattern after Sara Netanyahu’s interview, arguing that the remarks represented a planned effort in which Netanyahu’s political opponents are branded as traitors and conspiracy theories supply the evidence.

This fits neatly into Netanyahu’s fixation with avoiding the blame for Oct. 7 – and it comes amid a wider context: The Netanyahu political machine has spent years cultivating distrust of the police, prosecutors, judges, journalists, civil servants and military commanders who come into conflict with the prime minister. The Oct. 7 betrayal narrative folds the greatest catastrophe in Israeli history into this already familiar worldview.

The episode fits an election campaign already distinguished by extraordinary personal ugliness. Netanyahu has circulated an AI-generated video depicting his principal challenger, former IDF chief Gadi Eisenkot, running toward a young man wearing a shirt bearing the words “Israeli unity,” only to run past him and embrace Mansour Abbas, leader of the Arab Ra’am party. The young man in the commercial bore sufficient resemblance to Eisenkot’s son Gal, who was killed fighting in Gaza in December 2023, provoking outrage over what many Israelis saw as an exploitation of Eisenkot’s bereavement. The underlying message of the video was that Eisenkot’s willingness – very much felicitous in a country whose population is one-fifth Arab – to cooperate politically with Arab Israelis amounted to treason.

The same campaign has returned repeatedly to the proposition that Netanyahu’s opponents depend upon hostile or alien forces. A Likud billboard displayed New York Mayor Zohran Mamdani alongside the leaders of Iran, Hezbollah and Turkey beneath the slogan: “They want Netanyahu to lose. Don’t let them win.”

Former Netanyahu allies from the right increasingly describe a political culture in which ordinary democratic rivalry has been replaced by a language of enemies, traitors and conspirators amid an obsession to cling to power.

Naftali Bennett, another former leader of the Israeli right, has warned that the “poison machine” surrounding Netanyahu has grown sufficiently toxic to create the possibility of physical violence against political opponents.

Lieberman’s furious response to the Golan affair comes from the same place. The strategy presents an obvious electoral paradox. Netanyahu enters this campaign needing precisely the voters this rhetoric is likely to repel. Polls have repeatedly given the parties opposed to him a substantial advantage, with most surveys forecasting the broader anti-Netanyahu bloc above 70 of the Knesset’s 120 seats – a landslide by Israeli standards.

The route back to 61 – the number of seats Netanyahu needs to stay in power –  therefore runs through Israelis outside Netanyahu’s committed base, with voters who in many cases are security-minded, suspicious of the Palestinians, uncomfortable with the traditional left and deeply critical of the military and intelligence leadership for the failures of Oct. 7.

Netanyahu’s campaign increasingly appears designed to intensify the worldview of the committed rather than soften it for the persuadable. Persuadable voters can readily believe that generals failed catastrophically, that intelligence officials succumbed to groupthink, that the protest movement behaved irresponsibly or that Netanyahu’s opponents have pursued him obsessively. A claim that Yair Golan’s rescue missions indicate advance knowledge of the Hamas attack asks them to enter a considerably stranger universe.

Netanyahu has spent years turning political conflict into an existential contest in which his supporters defend their democratic choice against hostile “elites” and institutions. The betrayal theory takes this to its logical destination by placing the catastrophe of Oct. 7 itself inside the conspiracy.

Striking similarities

Here the comparison with Donald Trump goes considerably deeper than the familiar spectacle of a populist leader attacking judges, prosecutors or unfavorable election results. In both the United States and Israel, something profound has happened to the traditional conservative relationship with the state. Institutions once revered because they embodied national continuity — the military, intelligence services, law enforcement, the courts and the permanent civil service — increasingly become suspect whenever they demonstrate that their loyalty runs to the country and its laws rather than to the political leader who temporarily governs it.

For generations, the right in both countries occupied almost the opposite position. American conservatives wrapped themselves in the FBI, the armed forces and the authority of the state, while Israeli conservatives placed enormous cultural weight on the IDF and the security services as guardians of the Jewish state. The populist transformation has turned this on its head, producing a peculiar new mutation in which loyalty to the state becomes subordinate to loyalty to a leader who claims to embody the state.

Thus, a general who has devoted his life to Israel but challenges Netanyahu can become the target of a sinister conspiracy theory vehiculated by the prime minister’s wife on a propaganda channel.

The Oct. 7 conspiracy theories represent an especially extreme version of this logic. Israel’s military and intelligence establishment can be accused of having tolerated or even facilitated the greatest massacre in the country’s history because such a theory shifts responsibility away from Netanyahu and toward the institutions whose independence has become a political problem for him. Once such a proposition enters ordinary political discourse, distrust of judges, civil servants and election administrators requires a comparatively modest leap of imagination.

The connection to the coming election follows directly from this inversion. A public taught that generals and intelligence chiefs were capable of concealing an impending invasion from the prime minister has already been asked to believe in a conspiracy vastly more elaborate than anything required to manipulate an election.

A public taught that judges, prosecutors, police, journalists, civil servants and opposition politicians have joined a campaign to overthrow its chosen leader has been supplied with an explanation for almost any future defeat. Victory can be presented as the triumph of the people over the establishment; defeat can be interpreted as further evidence of the establishment’s power.

Israel already entered this campaign amid extraordinary anxiety about the integrity of the coming election. Earlier this summer, former Prime Minister Ehud Barak publicly warned that Netanyahu might attempt to sabotage it. Supreme Court Justice Noam Solberg, chairman of the Central Elections Committee, has discussed the narrow legal circumstances under which a genuine national emergency could justify postponing a vote. Golan has warned about attempts to alter election rules and announced plans for extensive monitoring of the vote. Scenarios that would have sounded fantastical during most of Israel’s history have entered ordinary political discussion as Netanyahu approaches an election that threatens to end his extraordinarily long political career.

Oct. 7 vs. Oct. 27

Trump’s experience shows how this political logic can operate when an election finally produces the wrong answer. His campaign against the legitimacy of American elections began years before Jan. 6, 2021, through the repeated proposition that an election system capable of producing his defeat must itself be fraudulent. By the time the 2020 election arrived, millions of supporters already possessed an explanation for a Trump loss. The epistemological groundwork had been laid. Victory demonstrated the people’s will, while defeat demonstrated the conspiracy.

Netanyahu operates in a different political system and national culture, but his increasingly conspiratorial campaign is constructing a comparable political logic in Israel. The institutions capable of declaring that he has lost overlap increasingly with the institutions his supporters are being taught to distrust. The judges belong to the hostile legal establishment; the civil servants belong to the bureaucracy; the media cannot be believed; the security establishment might have betrayed the country on Oct. 7; political opponents may themselves have participated in the conspiracy. A movement immersed in this worldview enters Election Day with an explanation already available should the voters remove its leader.

The transformation of Yair Golan’s Oct. 7 story captures where these politics lead. On the worst morning in Israel’s history, thousands of citizens waited desperately for a state that had disappeared. Reservists, retired officers, farmers, police officers and ordinary people rushed south to fill the vacuum. Golan put on his uniform, found a weapon, climbed into his little Toyota and drove toward the massacre, eventually helping rescue young Israelis hiding from Hamas gunmen in the fields.

Three years later, the prime minister’s wife points to the speed with which he responded as grounds for suspicion, turning evidence of initiative into an insinuation of foreknowledge. The same political method turns military failure into treason, institutional independence into disloyalty and political opposition into subversion. Carried through an election campaign, the logic has one further destination: electoral defeat itself can become another suspicious event requiring explanation.

Much of the Israeli center recoiled from Sara Netanyahu’s interview because the innuendo seemed grotesque. The larger danger lies in the political culture being constructed around precisely such innuendo, one in which patriotism is measured by loyalty to a leader and every person or institution standing between Benjamin Netanyahu and continued power can be cast as part of the plot.

In this sense, Oct. 27 is emerging as a perhaps ever more fateful date than Oct. 7. If the Netanyahu machine is not decisively routed, it is not at all clear that the country can recover as a democracy where the discourse is sane.

The post In upcoming Israeli election, Netanyahu is preparing to blame a loss on conspiracy appeared first on The Forward.

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