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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 Yiddish theaters and elevated trains are long gone, but the spirit of the Bowery lives on
The oak rolltop desk I write on was once the reception station at the Crystal Hotel on the Bowery. Back in the 1930s, a man could rent a single bed, clean sheets and a foot locker in a large barracks-style room at the Crystal for less than a dollar a night; some lived there until the hotel closed in the late 1960s.
I like to think of myself as a 3rd generation citizen of the Bowery. For 65 years, my grandfather and father worked on the Bowery, manufacturing store fixtures in the building that was once the Crystal Hotel and before that a Vaudeville theater named Miner’s. I remember the signs on the wall that warned against spitting and smoking in bed. Even as I live and work elsewhere, I feel connected to the place.
I love to walk the mile-or-so stretch in lower Manhattan from Chatham Square, where the oldest thoroughfare in New York City begins, to its northern reach on East 4th Street at Cooper Square. And I love the layers of history so visible on its streetscape. First a Lenape Indian pathway and then a popular route for Dutch farmers, the Bowery (from bouwerijs, the Dutch word for farms) hosted later waves of businesses, breweries, bars, theaters, artists’ lofts, lodging houses for people with nowhere else to go and social service agencies to help them; today, there are even some bespoke shops and a Chabad.
While the Bowery has had a reputation as “Skid Row” or “Devil’s Mile” — the title of an engaging exhibit now at The New Museum through Jan. 31, 2027 — for me, it’s alive with stories. It’s a wide avenue where the pace is quick, the energy is high and the architecture is wildly varied, highlighting one of the widest views of the sky in this city.
On a sunny fall day, light bounces off the glass storefronts and the metal restaurant equipment being unloaded onto the sidewalk. The street’s Honey Locust and London Plane trees are lovely but sparse, so there’s no leafy canopy blocking the view. Most seats along the stretch north of Delancey are BYO: Several men face the sunlight, sitting outside buildings in a cluster of abandoned office chairs, crates and a beat-up recliner.
The light wasn’t always this brilliant: From 1878 to 1956, the Third Avenue Elevated train cast the sidewalks and street into shadow, as seen in the celebrated photographer Weegee’s stark image in the New Museum exhibition, “Under the Third Avenue El, 1943-45.”
The exhibition provides a beautifully detailed overview of 400 years of Bowery history, culture and tumult, with early maps, paintings, playbills, contemporary sculpture, photographs by Harvey Wang from the book Flophouse: Life on the Bowery, and a 19th century fire vehicle that hasn’t been seen on the Bowery since 1840. The royal blue, gold-trimmed “Lady Washington Engine Co. No. 40, Hand Pumper Fire Engine,” with painted classical scenes on the front and back was used by a volunteer fire brigade who, despite their elegant carriage, were known as a brutal street gang.
The Bowery was the city’s first entertainment district, with serious theater in the early 19th century and later on melodrama, magic shows, tap dancing (born on the Bowery), minstrel shows and Yiddish, Chinese and Italian theaters. A host of performers known as human curiosities filled the stages of dime museums. Peter Stuyvesant, George Washington and Abraham Lincoln all showed up on the Bowery, as did P.T. Barnum, who started his career selling “quack medicines and bear grease” at a dry goods store at 101 Bowery.
The site of the New Museum was once the London Theatre, which later became the Lipzen Theatre and Gabel’s Theatre, which staged Yiddish productions. And, a few blocks south is the footprint of the theater in my family’s history, Miner’s Bowery Theatre, established in 1878. Harry Miner was a former police officer, firefighter and pharmacist, who first owned the London Theatre before renovating this one. He helped launch the career of Eddie Cantor; Al Jolson sang and W.C. Fields juggled here. Miner also pioneered Amateur Night — and the “hook,” a wooden cane used to yank lesser performers off the stage. In 1929, the theater burned down.
I came across a photograph online of the top of the Crystal Hotel’s Art Deco façade. I reached out to the person who posted the image and met Kunihide Nakajima, a 3rd generation Japanese master sushi chef who also loves Bowery history. His gorgeous namesake restaurant, Nakaji, opened on the site of the 1826 Bowery Theatre, which later became the Thalia and a home to Yiddish theater. That building burned down six times, was rebuilt 5 times, but was completely destroyed, also in 1929.
“All you have to do is look up,” Nakajima says. “History is still there.”
I had to look twice at a photo in the exhibition that’s part of Martha Rosler’s installation of text and images from the 1970s to see the signage from my father’s business reflected back in the window of a cash register store across the Bowery.
Two decades ago, when I last reported on the Bowery for The New York Times, I walked around with my father, who was treated with much respect as the street’s elder statesman. Then, grand performances at the Amato Opera House were still being staged. The Amato family closed what was billed as the world’s smallest opera house in 2009. The Neoclassical building, originally a cigar factory and then a mission for the homeless, is now a Japanese restaurant with a mezuzah on its door and luxury apartments.
A few blocks north on the corner of Bowery and 1st Street, I couldn’t resist trying a blend of coffee called Marky Ramone’s Bowery Beat, a nod to the neighborhood’s punk history, at Adios Amigos – named for the Ramones’ breakup album. Sipping the robust coffee on a stool at the window, I looked out at the Bowery, much as I enjoyed doing when I was a child in the window of my father’s shop. I used to wave at the passersby back then; this time, I just watched a carnival of dog walkers carrying drinks more likely to be iced matcha than Wild Irish Rose (the favored drink of the Crystal Hotel crowd). I watched people pushing baby carriages or laundry carts filled with belongings, bicyclists, tourists with large shopping bags, a man inching forward trying to get his mismatched shoe back on, a woman with long gray hair pushing a walker, wearing the most colorful jacket I’ve ever seen.
At 202 Bowery, the Plato Gallery is hosting Shuto Okayasu’s solo exhibition of urban scenes. The exhibition’s title, “Impermanence,” seems fitting for this street. The New York-based Japanese artist cites the Buddhist concept that life is changing, constantly, and beauty can be found in fleeing moments.
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Israel’s messy election result: Five scenarios for what could happen next
Israel’s election has produced a messy result: Prime Minister Benjamin Netanyahu’s governing bloc has suffered a major defeat, losing perhaps 11 seats compared with its victory in 2022. Yet the country could still end up with Netanyahu as prime minister. Or a broad unity government that preserves part of the existing order. Or a repeat election.
According to near-final results, Netanyahu and his allies have won just 53 seats in the 120-member Knesset, down from the 64 that gave them a comfortable majority four years ago. The opposition has secured 67 seats, one of the strongest showings for the anti-Netanyahu camp in decades. You might think this would be interpreted as a decisive rejection of the incumbent government and a mandate for political change – yet things are not exactly so.
The complication is that the opposition’s seats include 19 held by Arab parties, whose dramatic electoral gains appear to have been driven by a surge in turnout among Israel’s Arab citizens. The Jewish-led opposition parties together hold just 48 seats, leaving them well short of the 61 needed for a parliamentary majority. And several of their leaders have promised to avoid a coalition with the Arab parties.
That pledge was always difficult to reconcile with Israel’s electoral math – as well as with the promise of equality in its Declaration of Independence. Indeed, the moderate camp has for decades depended on Arab votes for a parliamentary majority, even when Arab parties remained formally outside the governing coalition. The promises in this round were designed to reassure Jewish voters moving away from Netanyahu’s right-wing bloc, many of whom distrust the Arab parties on security, Palestinian nationalism and the Israeli-Palestinian conflict.
Now opposition leaders may have to choose between their principal campaign objective – removing Netanyahu, which the country needs desperately – and a secondary promise that should never have been made.
Further complicating the picture are Likud allegations of fraud – expected standard operating procedure – which on Thursday received a boost by reports of an investigation that Qatar might have bribed Israeli Arabs to vote.
A major wild card is President Trump, who seems determined to save Netanyahu and may pressure the main opposition leader, Gadi Eisenkot, to acquiesce. No one should be surprised if Trump engineers another Iran war – or, conversely, promises peace plans with the Palestinians and Saudi Arabia – to scramble the Israeli equation in ways that might help his fellow right-wing populist.
There are several possible routes to a government, each involving concessions and risks.
1. An opposition government supported by the Arab parties
The most direct path would be for Eisenkot to accept the parliamentary support of the Arab parties and form a government backed by the 67 lawmakers elected in opposition to Netanyahu’s bloc. This could involve bringing Ra’am, the pragmatic Islamist party led by Mansour Abbas that joined the governing coalition in 2021, into the government, and perhaps relying on outside support from the Joint Arab List, which is less Zionist-friendly.
The latter arrangement would allow the Jewish-led opposition to control the cabinet while giving Arab parties considerable influence without requiring them to assume responsibility for policies they oppose.
They could concentrate initially on domestic priorities, on which they all agree, including restoring democratic institutions, establishing a state commission of inquiry into the Oct. 7 failures, addressing the cost of living, combating crime in Arab communities and reversing controversial authoritarian reforms of Netanyahu’s outgoing government. Additional parliamentary support on individual issues could help reduce dependence on any single faction.
Avigdor Lieberman, the anti-Netanyahu, anti-religious nationalist whose Yisrael Beiteinu party won seven seats, could prove the toughest obstacle. Opposed to a coalition that relies on an Arab safety net, he could potentially demand a turn as prime minister in exchange for his support. Conceivably, some from Netanyahu’s bloc might later join in as well.
2. A unity government under Netanyahu, excluding the far right
A second possibility is a broad national unity government joining Netanyahu’s Likud with most of the Jewish-led opposition while excluding his ultranationalist partners, especially the globally toxic Itamar Ben-Gvir. Such an arrangement would command a substantial parliamentary majority and could be presented as an answer to Israel’s political divisions and security challenges.
Trump, who aggressively endorsed Netanyahu, will probably push for this, and Eisenkot could be receiving some phone calls from the White House.
Netanyahu would argue he should be the prime minister of such a government – or at least go first in a rotation. He’d argue his Likud is still the largest party, but that is actually irrelevant under the Israeli system – only the blocs count.
For Netanyahu, unity would offer an opportunity to shed his most controversial partners while remaining at the helm, claiming national reconciliation.
For Eisenkot and other opposition leaders, the political cost would be enormous. Having campaigned to end Netanyahu’s rule and won a 67-seat majority, they would look weak. They also could find themselves responsible for government decisions that would enrage their supporters, like additional settlements in the West Bank.
3. Defections from the opposition give Netanyahu another majority
A third possibility involves Netanyahu persuading opposition lawmakers to change sides, allowing him to assemble a governing majority despite his bloc’s electoral defeat.
Netanyahu could also attempt to recruit such individual lawmakers through ministerial appointments, policy concessions or promises of political influence. Parliamentary rules governing defections could complicate these efforts, particularly for lawmakers seeking to break away individually. But it is possible. One potential figure is, again, Lieberman, whose Yisrael Beiteinu party has been among Netanyahu’s fiercest opponents. A former defense minister and veteran coalition negotiator, Lieberman holds nationalist positions closer to the traditional right than to the liberal opposition, although his longstanding hostility toward Netanyahu would make any reconciliation dramatic – and he has ruled it out. But he has also ruled out a coalition with the Arabs.
The prospect of major cabinet portfolios, a broader realignment of the right and the avoidance of another election could nevertheless become appealing options.
The broader implication is that Netanyahu could retain power through post-election maneuvering.
4. A unity government under Eisenkot, with Netanyahu in senior ministry
A fourth scenario, albeit unlikely, would flip the odd assumption that Netanyahu must lead a unity-government. Using his leverage in parliament, Eisenkot could become prime minister with Netanyahu accepting a senior cabinet position, perhaps as foreign minister or defense minister. Netanyahu would remain a prominent national figure, potentially representing Israel abroad or overseeing a major policy portfolio, while Eisenkot assumed responsibility for leading the government.
There would, however, be significant legal complications. Netanyahu’s ongoing criminal trial blocks him legally from serving as an ordinary cabinet minister rather than prime minister (which, due to a loophole, is possible). Assigning him a portfolio would require legislation and invite judicial scrutiny.
Another main obstacle: Netanyahu is pathologically fixated on retaining the premiership, and almost no one in Israel thinks he would accept such an arrangement over new elections.
5. Another election
The final possibility is that the parties fail to reach an agreement and Israel returns to the polls.
President Isaac Herzog plays an important procedural role, consulting parliamentary factions and assigning the task of forming a government to a Knesset member. The process could begin next week, and the initial mandate normally lasts 28 days, with a possible 14-day extension. Further procedures allow other candidates to seek a majority before another election becomes necessary.
A prolonged deadlock could leave Netanyahu heading a caretaker government while Israel prepares for another election – which is why he probably would not mind.
Another election would raise questions about whether the exceptionally high Arab turnout that helped produce the opposition’s majority could be sustained. Arab voter participation has historically fluctuated, and the latest result could represent either a lasting political transformation or a temporary surge driven by the campaign – then suppressed by bitterness over their exclusion.
For the Jewish-led opposition, returning to the polls would risk squandering its electoral achievement while giving Netanyahu another opportunity to reshape the contest around security, national identity and the legitimacy of Arab parliamentary influence.
If I wore Eisenkot’s shoes
If I were Eisenkot, I would give Lieberman whatever is needed to buy his cooperation and form a government with an Arab parliamentary safety net, remove Netanyahu and secure the premiership.
I would immediately pursue broadly popular policies: a state commission of inquiry into Oct. 7, universal conscription including Arab and Haredi national service, a crackdown on Jewish terrorism in the West Bank and organized crime, particularly in Arab communities, and reversal of Netanyahu’s authoritarian reforms.
I would maintain a firm line against Hamas, Hezbollah and Iran, and close the legal loophole allowing criminal defendants to serve as prime minister.
I would do all that in the first month. In the second, I would invite Likud into a unity government on these terms. Competent governance, relief from the threats of global economic sanctions and incumbency could build momentum, making any subsequent election prospects more favorable.
All that would require focus, determination and a bit of courage. As a former military chief, Eisenkot should be up to the task.
Netanyahu would scream bloody murder. Give him a megaphone, recommend a valium, and send him a copy of Israel’s Declaration of Independence, which promises equality to the Arabs.
The opposition’s leaders have a chance to show us whether they are worthy of leadership. Their decision will determine whether the election becomes a turning point in Israeli politics or another chapter in Netanyahu’s remarkable record of political survival.
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We Jews have three choices: Separating, assimilating or integrating
אַבֿרהם און שׂרה, טאַטע און מאַמע פֿונעם ייִדישן פֿאָלק, האָבן ביידע געהאַט די זעלבע השקפֿה און שליחות אין לעבן. פֿונדעסטוועגן האָט יעדער איינער פֿון זיי געלייגט דעם טראָפּ אויף אַן אַנדער אַספּעקט פֿונעם לעבן.
אַבֿרהם האָט זיך מער געוואָנדן אַרויסצו, צו דער וועלט בכלל, מיטן ציל אַרײַנצוברענגען אין איר דעם באַוווּסטזײַן וועגן איר באַשעפֿער. שׂרה, פֿון דער צווייטער זײַט, האָט זיך מער קאָנצענטרירט אינעווייניק, זאָרגנדיק פֿאַרן פֿיזישן און גײַסטיקן וווילזײַן פֿון איר זון יצחק — דער איינציקער גליד וואָס האָט געזאָלט ווײַטער פֿירן די טויזנט־יאָריקע קייט וואָס זײַן פֿאָטער האָט אָנגעהויבן.
אַ ייִד וואָס לעבט אין אַ ניט־ייִדישער געזעלשאַפֿט האָט דרײַ מעגלעכקייטן: זיך אָפּצוזינדערן, זיך צו אַסימילירן אָדער זיך צו אינטעגרירן.
דער וואָס פֿילט זיך באַדראָט פֿון דער געזעלשאַפֿט, אָדער פֿילט אַז ער האָט נישט עפּעס באַזונדערס בײַצוטראָגן ווי אַ ייִד, קלײַבט געוויינטלעך אויס צו האַלטן זײַן ייִדישקייט אין שטוב און אין שול, בעת אויף דער גאַס פֿירט ער זיך ווי אַ „נאָרמאַלער“ בירגער. ער האָט ליבער נישט צו פֿאַרעפֿנטלעכן זײַן ייִדישקייט.
דער וואָס זעט גאָרנישט באַזונדערס אין דעם וואָס ער איז אַ ייִד — בפֿרט אויב ער האַלט זיך נישט פֿאַר „רעליגיעז“ — אָדער וויל דאָס פֿאַרבײַטן אויף אַ לעבנסשטייגער, וואָס פּאַסט זיך בעסער צו דער געזעלשאַפֿט אַרום אים, קלײַבט אָפֿט אויס זיך צו אַסימילירן. דאָס הייסט: ער פֿאַרלאָזט זײַן ייִדישע אידענטיטעט כּדי אָנצונעמען אַ וועלטלעכע און מער „אוניווערסאַלע“ אידענטיטעט.
דער וואָס איז זיכער אין זײַן ייִדישקייט און אין דעם בײַטראָג וואָס ער קען, דווקא פֿון זײַן ייִדישקייט, געבן דער גאַנצער מענטשהייט, דאַרף נישט אַנטלויפֿן און דאַרף זיך אויך נישט אַסימילירן. זײַן ברירה איז זיך צו אינטעגרירן אין דער אַלגעמיינער געזעלשאַפֿט דווקא ווי אַ ייִד, און זי צו באַרײַכערן פֿון זײַן אייגענעם באַזונדערן אָרט.
פֿאַרשטייט זיך, אַז כּדי זיך געזונט צו אינטעגרירן און האָבן אַן השפּעה אויף דער ברייטערער געזעלשאַפֿט, דאַרף מען האָבן שטאַרקייט און קלאָרקייט וועגן דער אייגענער אידענטיטעט, און זײַן שטאָלץ מיט די אחריות וואָס די אידענטיטעט ברענגט מיט זיך.
אַבֿרהם און שׂרה זענען די פּראָוטאָטיפּן פֿון דער דינאַמיק פֿון דער ייִדישער משפּחה דורכויס די דורות. דער מאַן איז דער וואָס באַשעפֿטיקט זיך, קודם־כּל, מיט דער דרויסנדיקער וועלט; די פֿרוי איז די וואָס דערנערט און בויט די אינערלעכע וועלט פֿון דער משפּחה. נאָר דער וואָס האָט געהאַט און האָט נאָך אַלץ אַ שטאַרקע אינערלעכע וועלט קען זיך שטעלן אַנטקעגן דער דרויסנדיקער וועלט און זי באַאײַנפֿלוסן.
פֿון דער אידענטיטעט פֿונעם ייִדישן פֿאָלק, לאָמיר איצט אַריבערגיין צו דער אידענטיטעט פֿונעם ייִדישן לאַנד.
ארץ־ישׂראל: דאָס לאַנד פֿון די ייִדן, אָדער אַ ייִדיש לאַנד?
ארץ־ישׂראל איז דאָס נאַציאָנאַלע ירושה־גוט פֿונעם ייִדישן פֿאָלק. לויט הלכה־אויטאָריטעטן איז יעדער ייִד אויף דער וועלט דער נאַטירלעכער בעל־הבית פֿון לכל־הפּחות אן „אמה על אמה“ — 0.48 קוואַדראַט־מעטער — לאַנד אין ארץ־ישׂראל. דאָס איז אונדזער אייביקע ירושה.
עס זענען דאָ דרײַ שטעט אין ארץ־ישׂראל וועמענס קויפֿן דורך ייִדן איז דאָקומענטירט אין תנ״ך: חבֿרון, שכם און ירושלים. עס וואָלט געדאַרפֿט זײַן מער ווי קלאָר, אַז ס׳איז נישטאָ קיין אָרט פֿאַר אַ מחלוקת וועגן דער היסטאָרישער און לעגאַלער פֿאַרבינדונג צווישן די שטעט און דעם ייִדישן פֿאָלק — וויפֿל עס זאָלן נישט זײַן אַזעלכע וואָס ווילן זיי, חס ושלום, מאַכן „Judenrein“.
אין דער פּרשה חיי שׂרה לייענען מיר ווי אונדזער פֿאָטער אַבֿרהם האָט אָפּגעקויפֿט פֿון עפֿרון החתי די „מערת המכפּלה“ און די אַרומיקע פֿעלדער, מיטן בפֿירושן ציל דאָרט צו באַערדיקן זײַן פֿרוי שׂרה. שפּעטער זענען דאָרט אויך באַערדיקט געוואָרן די אָבֿות יצחק און יעקבֿ, צוזאַמען מיט זייערע פֿרויען רבֿקה און לאה.
דאָס אַלץ איז דאָקומענטירט אין דער תּורה — אַ דאָקומענט וואָס ווערט באַטראַכט ווי היסטאָריש לעגיטים דורך מער ווי 50 פּראָצענט פֿון דער הײַנטיקער וועלט־באַפֿעלקערונג.
כאָטש אַראַבער קענען טענהן אַז זיי שטאַמען אויך פֿון אַבֿרהם דורך זײַן זון ישמעאל און האָבן דעריבער אַ לעגיטימע תּבֿיעה אויף די דאָזיקע לענדער, איז דאָס אַ טעותדיקע טענה צוליב צוויי סיבות.
ערשטנס, זענען די אַראַבער וואָס וווינען הײַנט אין ארץ־ישׂראל נישט די אָפּשטאַמיקע פֿון ישמעאל, נאָר זענען אַריבערגעפֿירט געוואָרן אין אַנדערע געגנטן דורך דעם אַסירישן קעניג און שׂונא פֿון די ייִדן, סנחריבֿ.
צווייטנס, אַפֿילו ווען מיר וואָלטן אָנגענומען אַז זיי זענען בני ישמעאל, קומט זיי דערפֿאַר נאָך נישט ארץ־ישׂראל, ווײַל ישמעאל איז געווען דער זון פֿון שׂרהס דינסט הגר. אַבֿרהם האָט אים געגעבן זײַן ירושה נאָך בײַם לעבן און אים אַוועקגעשיקט ווײַט פֿון ארץ כּנען.
ארץ־ישׂראל איז נישט בלויז דאָס לאַנד פֿון די ייִדן; עס איז אַ ייִדיש לאַנד.
אייגנטום איז אַ צופֿעליקער און ענדערלעכער מצבֿ: הײַנט האָב איך עס, מאָרגן האָסטו עס. עס איז נישטאָ קיין מהותדיקער חילוק אין מײַן אויטאָ פֿון איידער איך האָב עס דיר פֿאַרקויפֿט ביז נאָך דעם וואָס עס איז געוואָרן דײַן אייגנטום; פֿריִער איז עס געווען מײַנס, און איצט איז עס דײַנס.
מיט ארץ־ישׂראל איז אָבער אַנדערש. דאָס לאַנד איז באַשאַפֿן געוואָרן פֿאַרן ייִדישן פֿאָלק, כּדי דאָס פֿאָלק זאָל קענען אויספֿירן זײַן תּכלית: אַנטפּלעקן דעם אויבערשטנס אָנוועזנהייט אין דעם פֿיזישן וועלט אויפֿן בעסטן אופֿן, און פֿון דאָרט, ווי דאָס האַרץ, אַרויספּאָמפּען אָט די אָנערקענונג און באַגײַסטערונג אין דער גאַנצער וועלט.
נישט אומזיסט רופֿט די גאַנצע וועלט דאָס לאַנד „דאָס הייליקע לאַנד“. דערמיט דערקענט מען, אַז אַפֿילו די ערד גופֿא פֿון ארץ־ישׂראל איז הייליק.
אין אַנדערע ווערטער: די פֿאַרבינדונג צווישן ארץ־ישׂראל און עם־ישׂראל איז נישט בלויז היסטאָריש אָדער צופֿעליק. זי איז מהותדיק און נשמהדיק. דאָס לאַנד און דאָס פֿאָלק טיילן אַ שליחות וואָס דער אויבערשטער האָט זיי געגעבן, און די פֿולע אויספֿירונג פֿון דער שליחות איז אָפּהענגיק פֿון ביידע.
ווען מיר קעמפֿן פֿאַר אונדזער לאַנד, טראַכטן מיר נישט בלויז פֿאַר אונדזערט וועגן, נאָר אויך לטובֿת אונדזערע שׂונאים. אויך פֿאַר זיי איז עס צום גוטן, אַז זיי זאָלן לאָזן דעם ייִדישן פֿאָלק אויספֿירן זײַן שליחות אין זײַן לאַנד, בשעת זיי קענען בשלום אויספֿירן זייער שליחות אין דעם לאַנד וואָס געהערט צו זיי.
ווען דער דאָזיקער פּונקט וועט זײַן קלאָר בײַ אונדז, וועט אונדז זײַן גרינגער זי קלאָר צו מאַכן אויך פֿאַר אַנדערע.
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