
There’s drama stirring in the Oslo National Theatre, but not the kind most cultural institutions expect. Under the auspiciousness of The Union of Theaters of Europe, the Oslo National Theatre has committed to a two-year project titled “TERRORisms”:
From 2013 to 2015, theatres from Oslo, Stuttgart, Belgrade, Tel Aviv, London and Reims will get closer to their TERRORisms. They will elaborate different points of view, exploring different aspects likely to determine fundamentally our societies… dealing with the issue of terrorism and its appropriation by artists.
I’ve just come back from Oslo, and to be honest, Norwegians- as individuals and as a society- didn’t strike me to be particularly “determined fundamentally” by “their” “terrorisms”. Admittedly, I’m not an expert on European contemporary art, but it doesn’t seem to me like there’s a lot of artistic appropriation of terrorism being done in the European cultural sphere, and the notion is rather- let’s just say- foreign.
The Union of Theaters of Europe: The New Propaganda Front for Israel’s TERRORisms
Continue reading “TERRORisms: Israel’s Colonialist Dialogue Comes to the Oslo National Theatre”
When oppression is successful, the oppressor gains control over his victim’s borders, erases them, and redraws them according to his whims. The victim’s narrative no longer exists, and as such, just telling their own story is an act of liberation. When Palestinians chose Boycott, Divestment and Sanctions (BDS) as a form of telling their story (not just a form of action), they changed a continual paradigm of abuse which made their story insignificant, and were finally able to cut the cycle of abuse and silence. No longer do Palestinians need to react to Israel’s Hasbara line. They have reclaimed their narrative, and now the state of Israel is forced to react in accordance to it.

