For other articles in this series 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11
Since I’ve started the Let’s Talk About Genocide series, over four years ago, the discussion around Israel in the context of the crime of genocide has grown substantially. And while many scholars, journalists, and human rights defenders have embarked on the arduous task of examining the Convention on the Prevention and Punishment of the Crime of Genocide (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16); many others have dedicated many words to the various, very partial definitions found in most English language dictionaries (1, 2, 3, 4, 5, 6). Based on these inaccurate definitions- that no genocide scholar in either the Political Science or the legal field would agree on- inevitably the authors reach the conclusion that Israel is not committing genocide against the indigenous Palestinian people. Continue reading “Let’s Talk About Genocide: Words Matter”
Today, [Creative Community for Peace] say, there is not a single musical act, from Justin Timberlake to the Rolling Stones to Alicia Keys, that they have not approached and coached in advance of their performance in Israel. ~Times of Israel
It’s no surprise that the genocidal Times of Israel is so eager to push anti-BDS initiatives. It’s also no surprise that one of Israel’s most well connected, elite whitewashing team, Creative Community for Peace [CCfP], is doing exactly what it vowed to do- whitewash genocide. However one might wonder about some of the names on the below statement that CCfP has published:
HARDtalk speaks to one of Africa’s greatest living writers, Ngugi Wa Thiong’o. Tipped to win the Nobel prize for literature, he decided years ago not to write novels in English but in Gikuyu, his mother tongue. His work includes extraordinary memoirs of colonial times and the Mau Mau uprising in his native Kenya. How far have today’s young Africans forgotten the sacrifices that brought about independence? And has that independence itself been a disappointment?
Note: I don’t speak French, I’m responding to a Google Translate version of the original post, so I’ll refrain from my usual special attention to semantics, in order not to dwell on what may be a technical mistake in translation.
Last Wednesday, Jacky Terrasson’s agent, Christophe Deghelt, responded to the massive campaign to boycott the Israel state sponsored Red Sea Jazz Festival (more details on the government and corporate connections of the festival in this article). Since thought did actually go into this post, I think we in the BDS movement should respond. So here it is, point-by-point. I hope this furthers public discussion, as BDS so often does, because just like Christophe Deghelt, this is a “debate that I hold dear”.
Welcome to Palestine 2012 is already a huge success. Israel has already set up a welcoming committee, the only way a military regime meeting opposition knows how: As in last year’s Fly-in, hundreds of border patrol personnel and police officers will await the delegation. Detention facilities are already ready for 1500 children, women and men, expected to arrive in Ben Gurion Airport. But why tell when I can show? Here’s your typical, run of the mill article on Channel 1:
The Israeli Knesset is debating a bill proposed by David Rotem of the extreme right Yisrael Beiteinu party that would require all Israeli citizens to swear loyalty to Israel as a “Jewish and democratic state.” This bill is targeted at increasing pressure on the twenty percent of Israelis who are Palestinian citizens while forcing the ultra Orthodox Jewish minority who reject the legitimacy of any state not based on Jewish biblical law to accept Zionism. If passed in its proposed form, citizens unwilling to take the loyalty oath would be at risk of losing citizenship.
[I]n one scene I wanted to have just a half open door and I wanted to be shown saying namaz once. We couldn’t take that shot. Then we put that bit where I say the prayer: Nasrun minal lahe wah fatahun kareeb (God give me strength to win) [sic] [Victory is Allah’s, and the opening/victory is close] which is my own prayer too. I don’t think we should intellectualise entertainment. See the fun of it.
This is how Shahrukh Khan describes his experience working in the filmChak De! India(Dir: Shimit Amin, 2007). With apologies to King Khan for discarding his proposal to not “intellectualize” films, yet taking due “fun” in it, I argue that it is only in My Name is Khan(Dir: Karan Johar, 2010) that the King finally comes “out” as a Muslim. No “half open door” is needed. This coming out affords particular visceral pleasures to an audience (or at least a large section of it spread across the globe) long resigned to seeing SRK endlessly and persistently marked by the specifically filmic variety of Hinduness practiced in Bollywood: doing various pujas and aartis at different Hindu temples, or adorning his spouses’ hair-parting with sindhoor and smearing his own forehead with tilaks. This performative Hinduization of Shahrukh Khan in Urdu-Hindi cinema is unrelenting precisely due to the dogged presumption of SRK’s Muslimness that is not easily obscured. “In my films I have been going to temples and singing bhajans; no one has questioned that,” (my emphasis) SRK exclaims in the same interview. No one “questions” the diegetic (filmic) Hinduness of SRK; it is expected and mandatory. With the increasing and explicit polarization in India since 1990s, the anxiety around Muslimness is such that it requires perpetual masking: an iterative performance of Hinduness, secular or otherwise. When the mask slips off, the performance is momentarily paused – as when SRK plays a Muslim character in a film and critiqued the anti-Pakistani politics of Indian Premier League (IPL) – Hindutva activists target SRK’s suburban Bombay home, Mannat, with massive demonstrations (See the earlier Part II for more).