Triangulating Nigel Kennedy

A bit of an update on Israel-boycotting violinist Nigel Kennedy. These days he plays with one of Gilad Atzmon’s musical associates Yaron Stavi and has earned himself the support of Paul Eisen*. So when Robert Wyatt mentions Stavi and Kennedy approvingly in the Morning Star directly after a reference to ‘zionazis’, it’s not so much surprising as shameful.

Because it suits Paul Eisen’s politics to cheer for holocaust denial**. Because Gilad Atzmon denies the Holocaust even while nodding along with  The Protocols of the Elders of Zion. Because Wyatt’s ‘zionazi’ isn’t criticism, it’s just a good way to hurt a bunch of people who lost loved ones, homes, futures to the Nazis. Because Yaron Stavi is chummy with all of them. And because the Morning Star hasn’t resembled a genuine communist paper for years.

How is any of this pro-Palestine? Palestine supporters who think that picking on Jews is activism – they always damage their cause. They always end up sending a message that Jews and Israelis should be scared and defensive. Their work is a mockery.

HT Jim

*http://pauleisen.blogspot.co.uk/2013/08/for-your-enjoyment-and-amazement.html
**http://pauleisen.blogspot.co.uk/2012/12/how-i-became-holocaust-denier-by-paul.html

Perspectives

I wasn’t taking notice of much in 1987 when Paul Simon, Hugh Masekela, Miriam Makeba, Ladysmith Black Mambazo and others brought the Graceland Tour to London’s Royal Albert Hall. Joel Berlinger’s new documentary ‘Paul Simon – Under African Skies’ and the revival of Graceland in Hyde Park this month has been an occasion to revisit the cultural boycott of South Africa which intensified towards the end of the apartheid era.

I haven’t seen the film yet but Women Are From Mars, Raymond Soltysek, and Erik Lundegaard have written well about the ethical dilemmas. The joy, release and political impact of the music comes through strongly.

~~~

On the Today Programme (BBC Radio 4, Tuesday 17th July 2012, 08:53, which UK residents can listen to for the coming week) Ekow Eshun and Diran Adebayo discuss the term ‘choc ice’. Ekow Eshun takes the view that the term dates from a time when black people who made it to prominent positions or broadened their interests were often regarded with suspicion by others. He argues that to give ‘choc ice’ any currency – either as insult or as a social category – can only normalise the old narrow views of black people. He appeals for political responsibility.

This reminded me of the debates between those Israel supporters who conspicuously identify as Zionists in response to Israel eliminationists, and those others who feel that Zionism should be thought of as a historical movement whose purpose ended with the establishment of Israel, and that to give ‘Zionism’ any currency can only normalise Israel eliminationism. So, language matters. The difference is that Israel eliminationists have a big stake in getting the term ‘Zionist’ into common parlance whereas I think ‘choc ice’ is (as Diran Adebayo observed before being interrupted and misunderstood by Sarah Montague) a word bandied around by people who feel they’ve been denied their entitlement to ethnic or race loyalty – more like when ‘self-hating Jew’ is used as an insult.

 

100 years of world cuisine

“Ten casualties. Ten million casualties. Our understanding of conflicts is often nothing more than a handful of digits, the more precise, the less meaningful. The anchor’s tone remains the same when talking about major wars or isolated outbursts of violence. The horror lays hidden beneath the rigidity of numbers. Figures give us knowledge, not meaning. “

For individuals under attack, hierarchies of suffering are callous in the extreme – a death is a death, a mutilation is a mutilation. But what shapes the decisions and priorities of far-away activists and advocates?

100 Years of World Cuisine is data art visualising 38 million deaths in 25 conflicts from 1915 to the present.

visualisation of death toll of C20 conflicts

That’s a little less than a quarter of the total.

(Once on the page click on the image until it doesn’t get any bigger.)

Political music festival featuring antisemite Gilad Atzmon sponsored by the Art’s Council, The Co-Operative and National Lottery Fund.

Raise Your Banners is a “festival of political song” held annually in Bradford and is sponsored by the Art’s Council, The Co-Operative and National Lottery Fund. It was started 16 years ago in celebration of the great Wobblie (IWW) union organiser and songster Joe Hill. However this year it’s featuring Gilad Atzmon. Maybe the organisers don’t know about Atzmon’s politics but seeing that they link to his website, maybe they do. As it’s a festival of poliitical music they can’t use the old argument that they’re hosting Atzmon for his music and not his politics.

You may have liked to have gone to see Peggy Seeger perform but unfortunately it’s sold out. Still you can always go to the workshop “Songs to Counter the Zionist Bullies”.

Noam Edry: Goldsmiths made me a fundamentalist

“Goldsmiths Made Me a Fundamentalist” – Noam Edry

On Thursday 14 July you are all invited to the opening of my show “Conversation Pieces: Scenes of Unfashionable Life”, a mini solo-show at the rear of the Baths Studios of Goldsmiths College as part of the MFA Fine Art Degree Show. It comprises of painting, sculpture, video and live performances all dealing with the Arab-Israeli conflict from my own Israeli point of view. Call it a Zionist show, call it what you like. If anyone would have told me two years ago, when I came to London to start my MA in Fine Art, that I would be making a show about the conflict, I would have laughed straight away. I had always thought of myself as a-political. I never thought I had an opinion about politics, right, wrong, I only knew one thing: that I didn’t know. That things were not as simple or clear-cut as a black and white painting and that there were so many other issues I could address as an artist.

But then on my first day at Goldsmiths I was confronted by propaganda posters on the student union walls calling my country an “apartheid state”. It was the first time I had heard of it. Apartheid. How? In what way? I went to art school in Jerusalem with fellow Arab artists. We built our exhibitions together side by side, helping each other. I served in the Israeli army with Arabs and ate the same oily army food with them, and consoled myself with the same Arabic coffee that we brewed together in a small makeshift pot. My own army commander was Druze. All of a sudden I felt threatened and unwelcome here in Britain. I grew up in London from the age of five until I was seventeen but this was a very different London than the one I remembered so fondly.

In the first year at Goldsmiths I lay low, I tried fitting in, I refused to make work about my Israeli identity or anything that had to do with it. But it was simply not good enough. Because I was constantly confronted with questions, accusations, labels. It would happen on the way back from a party or over a casual cup of coffee. I saw more posters and protests and boycotts slandering my home, the place that made me who I am, a place that was barely recognisable in those posters. I saw the crass misrepresentation of my region and its de-legitimisation on a daily basis and I felt powerless. I did not have the words, I did not have the flashy slogans and the fashionable labels.

When I attended a meeting of the Palestine Twinning Campaign at Goldsmiths I felt like it was 1939 all over again. I was expecting a real dialogue but instead they were calling for academic boycotts of Israel, they were rallying young students who were desperate to be passionate about something to silence people like me; to silence artists and intellectuals who believe in human beings and mutual tolerance, who are the real hope for peace and for a bright future. I was horrified. What next? Would they start burning Israeli books? I promptly made the work “Save the Date” where I dressed up as a giant boycotted Israeli date and pleaded with my fellow artists to eat me. I performed it twice at Goldsmiths but the second performance was boycotted by the students. What utter absurdity, I thought: to boycott a performance about boycotting!

Documentation of the performance “Save the Date” will be screened at my upcoming show opening this Thursday. Also on show will be “Coffee Stand”, a work that challenges the demonising of Israel on UK campuses. The stand will be situated at the entrance to my show and manned by Israeli and Jewish volunteers, who will serve Arabic-Israeli coffee to members of the public. They will wear T-shirts designed and hand-printed by me with the text: “I come from the most hated place on earth” and on the back: “(second to Iran)”. Those who wish to take part by wearing a t-shirt at the show will be given one for keeps. You are all welcome to come and see it. There will also be a holistic therapist ready to rehabilitate your left side. Those who have tried it have felt the change.

I hope to generate real dialogue here, a conversation over a friendly cup of coffee, to show the faces of those directly affected by the hate-campaign, the demonization and the de-humanisation. Because, after all, what does it mean to hate a country? What is a country if not its people? What does it mean to hate a person simply because of the place where he/she was born? What good does it do?

I believe in human beings. I believe that each and every one of us seeks happiness.  If people want to be passionate about a cause they should know what it is they are rallying for. And make sure they are not trampling on someone else in the process. Passion is good when it is channelled in positive ways. When tolerance and well-being is the real goal and not the adrenaline rush of a good fight.

There is an Israeli voice in Goldsmiths. There is a Jewish voice in Goldsmiths. It is loud and it is here and it will not be silenced.

Noam Edry

 “Conversation Pieces: Scenes of Unfashionable Life” opens Thursday 14 July 6-9pm at the Goldsmiths MFA Degree Show

 Baths Building, Laurie Grove, New Cross, SE14 6NW

Opening times: Friday 15 – Monday 19 July 10am-7pm, Sunday 18 July 10 am – 4pm

 The Coffee Stand opens for the duration of the Private View, Thursday 14 July 6-9pm

And then every day Friday15-Monday 19 from 12noon – 3pm

 Hope to see you all there!

China unboycotted

A couple of times, usually just before it’s just about to end, BBC Radio 4’s Today Programme, has had a piece about a controversial performance. There was one on the discovery that Beyonce, Nellie Furtado, Usher and Mariah Carey all sang for the Ghaddaffis in recent years.

The latest was about Bob Dylan’s coming Chinese show. Like everybody else who tours there, he submitted to state censorship to play in China and is obliged to keep to a “strictly agreed playlist”. Bjork was nodded through the censors but went on to dedicate her song “Declare Independence” to Tibet on the day – so perhaps Bob Dylan will use the stage to draw attention to the imprisonment of Ai WeiWei and other Chinese dissenters after all.

Listen to the BBC piece for the coming week (scroll to 08:49).

HT: Matt.

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