For other articles in this series 1, 2, 3, 4, 5, 6, 7, 8, 9, 10
Since Israel’s latest attack on the besieged Gaza Strip, last summer, I’ve been researching the issue of Israel’s genocide. I quickly found out that I’m not the only one, and although the subject has been addressed by scholars, politicians, UN bodies, and Palestinian civil society since 1982, this attack has prompted an unprecedented amount of criticism and study.
Earlier this week, I found a message in my inbox by an Israeli, who’s a Jazz musician, who’s paying gig was canceled because of a successful BDS movement campaign to get Swedish Jazzist, Andreas Öberg, to cancel his gig in the Eilat Red Sea Jazz Festival. Usually, the extent of my response, when I get unsolicited mail from angry Israelis, is to take a screenshot and add it to my “Love Letters” albums on my Facebook profile. Call it an artistic form of exhibiting political repression, racism and sexism, if you will (but what does culture have to do with politics, I wonder…). This time, however, since we’re not talking about your typical angry Red Hot Chili Peppers fan, but someone who has lost a paying gig. I think it merits a response (even though, as I will argue below, I am actually not the address for cultural worker grievances).
As a BDS activist, whose main focus is cultural boycott, I’ve come up against a very common Israeli claim (individuals, small business, and government officials) that “culture has nothing to do with politics”. Most commonly it comes in the form of a puzzled “rhetorical” question: “What does culture have to do with politics?!” As if asking this question closes the discussion, because it’s so obvious that art, music, books, films, theater and dance are a pure form of entertainment that has no intellectual, political, anthropological value. As if cultural products aren’t bought and sold as commodities and status indicators.
Shuki Weiss Promotion and Production Ltd. in the Service of the State of Israel