“Politics of Memory”: Masha Gessen’s Hannah Arendt Prize Postponed for Comparing Gaza to Warsaw Ghetto
by Amy Goodman
DemocracyNow!
December 15, 2023
https://www.democracynow.org/2023/12/15 ... transcript
We speak with the acclaimed Russian American writer Masha Gessen, whose latest article for The New Yorker looks at the politics of Holocaust commemoration in Europe. Gessen was scheduled to receive the prestigious Hannah Arendt Prize in Germany on December 15, but the ceremony was postponed after some award sponsors withdrew support over Gessen’s comparison in the article of Gaza to the Warsaw Ghetto. A smaller award ceremony is set for Saturday. Gessen says Germany’s culture of learning about and atoning for the sins of the Nazi regime has morphed into steadfast support for the state of Israel despite its actions, while banning most forms of pro-Palestinian solidarity as part of a flawed effort to fight antisemitism. The cornerstone of this form of “memory politics” is that “you can’t compare the Holocaust to anything,” says Gessen. “My argument is that in order to learn from history, we have to compare.”
Transcript
This is a rush transcript. Copy may not be in its final form.
AMY GOODMAN: This is Democracy Now!, democracynow.org, The War and Peace Report. I’m Amy Goodman.
We begin today’s show with the acclaimed Russian American writer Masha Gessen, scheduled to receive the prestigious Hannah Arendt Prize in Germany today, but the ceremony had to be postponed after one of the award’s sponsors, the left-leaning Heinrich Böll Foundation, withdrew its support for the prize after Masha Gessen compared Gaza to the Warsaw Ghetto in a recent article for The New Yorker titled “In the Shadow of the Holocaust: How the politics of memory in Europe obscures what we see in Israel and Gaza today.” The German city of Bremen also withdrew the venue where today’s prize ceremony was scheduled to take place.
In the essay, Masha Gessen wrote, quote, “For the last seventeen years, Gaza has been a hyperdensely populated, impoverished, walled-in compound where only a small fraction of the population had the right to leave for even a short amount of time — in other words, a ghetto. Not like the Jewish ghetto in Venice or an inner-city ghetto in America but like a Jewish ghetto in an Eastern European country occupied by Nazi Germany.”
Masha Gessen went on to write about why the term “ghetto” is not commonly used to describe Gaza. They wrote, quote, “Presumably, the more fitting term 'ghetto' would have drawn fire for comparing the predicament of besieged Gazans to that of ghettoized Jews. It also would have given us the language to describe what is happening in Gaza now. The ghetto is being liquidated.”
Masha Gessen’s essay sparked some outrage in Germany. In its announcement withdrawing support for Gessen’s prize, the Heinrich Böll Foundation, which is tied to the German Green Party, criticizes Gessen’s essay, saying it, quote, “implies that Israel aims to liquidate Gaza like a Nazi ghetto,” unquote. While the foundation pulled out of the Hannah Arendt Prize ceremony, a smaller ceremony will take place Saturday at a different venue.
For Gessen, the controversy in Germany comes just days after being added to Russia’s most wanted list for comments they made about the war in Iraq — in Ukraine.
Masha Gessen joins us now from Bremen, Germany. Masha Gessen is staff writer at The New Yorker, author of numerous books, including, most recently, Surviving Autocracy.
Welcome back to Democracy Now!, Masha. If you can start off by talking about this controversy, talking about what you wrote in The New Yorker magazine? And the fact that, well, the ceremony hasn’t been completely canceled, but just explain what’s happened.
MASHA GESSEN: Hi, Amy. It’s good to be here.
I don’t know that I can fully explain what happened, because I don’t think I quite understand what happened, because the Heinrich Böll Foundation first withdrew from the prize ceremony, causing the city of Bremen to withdraw from the prize ceremony, causing the prize organizers to tell me that, first of all, they stand by me and by their decision to give me the prize, but also to — oh, and then the university where the discussion the day after the prize was supposed to be held also withdrew. And this is interesting, because the university said that they believed that having the discussion would violate a law. Now, by the law, I think what they actually meant was the nonbinding resolution that bans anything connected with the Boycott, Divestment, Sanctions movement, which is nonbinding but has a huge influence in Germany. And that was largely the topic of my article.
So, then the prize organizers decided to have a smaller ceremony at a different location, which I’m not going to mention, not because I’m afraid of Germans, but because I’m concerned about Russians. And then the Heinrich Böll Foundation, after quite an uproar in German social media and conventional media, issued a new statement saying that they stand by the prize, but the venue had canceled, so they couldn’t hold the award ceremony, so it was postponed, which I don’t think was entirely forthcoming on the part of the Heinrich Böll Foundation, and their first statement was on record. But that’s where we stand now.
AMY GOODMAN: So, let’s talk about the heart of what the Heinrich Böll Foundation has found so controversial. Talk about this piece that you wrote for The New Yorker magazine, the comparison you’ve made to Gaza and the Warsaw Ghetto.
MASHA GESSEN: So, the piece is fairly wide-ranging. It’s a piece in which I travel through Germany, Poland and Ukraine and talk about the politics of memory in each country, but a large part of the piece — and how we view the current war in Israel-Palestine through the prism — or, fail to view the war through the prism of the Holocaust. A large part of the article is devoted to, in fact, memory politics in Germany and the vast anti-antisemitism machine, which largely targets people who are critical of Israel and, in fact, are often Jewish. This happens to be a description that fits me, as well. I am Jewish. I come from a family that includes Holocaust survivors. I grew up in the Soviet Union very much in the shadow of the Holocaust. That’s where the phrase in the headline came from, is from the passage in the article itself. And I am critical of Israel.
Now, the part that really offended the Heinrich Böll Foundation and the city of Bremen — and, I would imagine, some German public — is the part that you read out loud, which is where I make the comparison between the besieged Gaza, so Gaza before October 7th, and a Jewish ghetto in Nazi-occupied Europe. I made that comparison intentionally. It was not what they call here a provocation. It was very much the point of the piece, because I think that the way that memory politics function now in Europe and in the United States, but particularly in Germany, is that their cornerstone is that you can’t compare the Holocaust to anything. It is a singular event that stands outside of history.
My argument is that in order to learn from history, we have to compare. Like, that actually has to be a constant exercise. We are not better people or smarter people or more educated people than the people who lived 90 years ago. The only thing that makes us different from those people is that in their imagination the Holocaust didn’t yet exist and in ours it does. We know that it’s possible. And the way to prevent it is to be vigilant, in the way that Hannah Arendt, in fact, and other Jewish thinkers who survived the Holocaust were vigilant and were — there was an entire conversation, especially in the first two decades after World War II, in which they really talked about how to recognize the signs of sliding into the darkness.
And I think that we need to — oh, and one other thing that I want to say is that our entire framework of international humanitarian law is essentially based — it all comes out of the Holocaust, as does the concept of genocide. And I argue that that framework is based on the assumption that you’re always looking at war, at conflict, at violence through the prism of the Holocaust. You always have to be asking the question of whether crimes against humanity, the definitions of which came out of the Holocaust, are recurring. And Israel has waged an incredibly successful campaign at setting — not only setting the Holocaust outside of history, but setting itself aside from the optics of international humanitarian law, in part by weaponizing the politics of memory and the politics of the Holocaust.
AMY GOODMAN: So, talk more about that, that learning about the Holocaust through the idea that it is separate and apart and can be compared to nothing else, versus how we ensure “never again” anywhere for anyone.
MASHA GESSEN: I don’t know that we can ensure “never again” anywhere for anyone. But I think the only way to try to ensure it is to keep knowing that the Holocaust is possible, keep knowing that it is — it can come out of what Arendt called “shallowness.” I mean, this was very much her point in Eichmann in Jerusalem: A Report on the Banality of Evil. And by the way, this was a book that got Arendt really ostracized by both the Israeli political mainstream and much of the North American Jewish political mainstream, for things that she wrote about the Judenrat, but also for this very framing of the banality of evil. It was misinterpreted as trivializing the Holocaust. But what she was saying is that the most horrible things of which humanity has proven capable can grow out of something that seems like nothing, can grow out of thoughtlessness, can grow out of the failure to see the fate of the other or the inability to see it. And I interpret that as a call to constant vigilance for failure to see the fate of the other, for doubting the kind of overwhelming consensus that, certainly in Israel and in the North American Jewish community, appears to back the Israeli onslaught on Gaza. This is the way in which we stumble into our darkest moments.
AMY GOODMAN: For people who don’t know who Hannah Arendt is, the Jewish philosopher, political theorist, the author of The Origins of Totalitarianism and The Human Condition, The Banality of Evil, as well, covered the Eichmann trial for The New Yorker magazine, the magazine that Masha Gessen writes for.
Masha, last week, an Israeli airstrike in Gaza City killed the acclaimed Palestinian academic, the activist, the poet Refaat Alareer, along with his brother, his sister and his four nieces. For more than 16 years, Alareer worked as a professor of English literature at the Islamic University of Gaza, where he taught Shakespeare and other subjects, the father of six and mentor to so many young Palestinian writers and journalists. He co-founded the organization We Are Not Numbers. In October, Democracy Now! spoke to Refaat Alareer, who also compared Gaza to the Warsaw Ghetto.
REFAAT ALAREER: If you have seen the pictures from Gaza, we speak about complete devastation and destruction to universities, to schools, to mosques, to businesses, to clinics, to roads, infrastructure, to water lines. I googled this morning Warsaw Ghetto pictures, and I got pictures I couldn’t differentiate. Somebody tweeted four pictures and asked to tell which one is from Gaza and which one is from the Warsaw Ghetto. They are remarkably the same, because the perpetrator is almost using the same strategies against a minority, against the oppressed people, the battered people, the besieged people, whether it was in the Warsaw Ghetto, the Jews in Warsaw Ghetto in the past or the Palestinian Muslims and Christians in the Gaza Strip. So, the similarity is uncanny.
AMY GOODMAN: That was the Palestinian poet, writer and professor Refaat Alareer, who was killed in Gaza by an Israeli airstrike that killed his brother, sister and four of her daughters. This is Scottish actor Brian Cox, famous for Succession, just nominated for a number of Emmys, reading Refaat Alareer’s poem “If I Must Die,” in a video that’s gone viral.
BRIAN COX: If I must die,
you must live
to tell my story
to sell my things
to buy a piece of cloth
and some strings,
(make it white with a long tail)
so that a child, somewhere in Gaza
while looking heaven in the eye
awaiting his dad who left in a blaze—
and bid no one farewell
not even to his flesh
not even to himself—
sees the kite, my kite you made, flying up
above
and thinks for a moment an angel is there
bringing back love
If I must die
let it bring hope
let it be a tale.
AMY GOODMAN: Scottish actor Brian Cox reciting Refaat Alareer’s poem “If I Must Die” in a video produced by the Palestine Festival of Literature, PalFest. Masha Gessen, if you can comment on both what Refaat and you are saying about the Warsaw Ghetto, and the significance of him dying in this strike, like so many other Palestinians? I think the number, as we speak, we’re at something like 19,000 Palestinians dead, more than 7,000 children, more than 5,000 women, Masha.
MASHA GESSEN: I wasn’t aware that he had made this comparison, but I’m not particularly surprised, because the comparison lies on the surface. And so, the question I had to ask when writing this, it was, “Why hadn’t this comparison been made before?” The trope that’s been used for at least a dozen years in sort of human rights circles is “open-air prison.” And “open-air prison” is not a good descriptor for what was Gaza before October 7th. There are no prison cells. There are no prison guards. There is no regimented daily schedule. What there was was isolation. What there was was a wall. What there was was the inability of people to leave, with the exception of very, very few. What there was was a local force, enabled in part by the people who built the wall — and I’m talking about Hamas now as the local force — that maintained order, and in this way serviced, in part, the needs of the people who built the wall. That was the bargain that Israel had struck by pulling out of Gaza, was that Hamas would maintain order there. And obviously, there are huge differences. I’m not claiming, by any means, that this is a one-to-one comparison or that even there is such a thing as a one-to-one comparison. That’s not a thing. But what I’m arguing is that the similarities are so substantial that they can actually inform our understanding of what’s happening now.
And what’s happening now — and this is probably the line in the piece that made a lot of people throw their laptops across the room — what’s happening now is that the ghetto is being liquidated. And I think that’s an important thing to say, not just because it’s important to call things — to describe things in the best possible way that we can, but because, again, in the name of “never again,” we have to ask if this is like a ghetto. And if what we’re witnessing now in this indiscriminate killing, in this — in an onslaught that has displaced almost all the people of Gaza, that has made them homeless, if that is substantially similar to what we saw in some places during the Holocaust, then what is the world going to do about it? What is the world going to do in the name of “never again”?
AMY GOODMAN: Masha Gessen, the cancellations of speeches, of festivals that are seen as pro-Palestinian are on the rise. You have taught at Bard for years. You know the kind of pressure that professors and students are being brought under all over the United States. You’re in Germany right now. I’m wondering if you can comment on this. Some are calling it a “new McCarthyism.” And yet, interestingly, like you, so many of the protesters are Jews, are Jewish students, Jewish professors. But when this ceremony was first canceled, then postponed, what kind of response did you get from the press? Was it an avalanche of interest? And especially in Germany now, where people like Greta Thunberg — right? — the young climate activist, spoke up for Gaza and got pilloried in the German press?
MASHA GESSEN: Well, funny you should ask, because I was making my way to Bremen after having woken up to an email telling me that this was all going on, and I started seeing media reports that were wildly inaccurate. They said, for example, that the prize had been rescinded, which it never was. The jury was very firm, and I can’t say enough to express my appreciation for them. I think they’ve shielded me from how much pressure they’ve come under as a result of this controversy. But I’ve felt so well hosted and supported by them. But, yeah, the media were reporting all sorts of things and also making up biographical facts about me.
And in all that time, not a single German reporter contacted me, and only one U.S. reporter contacted me, a reporter from The Washington Post. So I tweeted about it. And it was like I reminded journalists that that’s what we do, is we call people and find out what actually happened. So, I have been talking to the media now nonstop for the last 28 hours. I almost wish I hadn’t tweeted it, but I also think it’s very important to try to have this conversation in a meaningful way. So I’ve been concentrating mostly on German media. Every single German media outlet I’ve ever heard of has reached out to me. So I don’t think it’s that they didn’t want give me a voice. It’s that the habit of aggregating the news has just become so ingrained that people forget that the substance of our profession is to actually call people and ask them.
AMY GOODMAN: Go to where the silence is. Masha Gessen, I also want to ask you about another issue. Russian police recently placed you on a wanted list after opening a criminal case against you on charges of spreading false information about the Russian army. The Kremlin is accusing you of spreading false information over your remarks about the massacre of Ukrainian civilians by Russian forces in the city of Bucha in March of last year. Can you comment?
MASHA GESSEN: Well, it’s been quite a week. I kind of feel like I want to stop making news. But you know what? It’s not crazy to me that I’m both placed on the Russian wanted list and running into trouble with German authorities, because I think that there is a kind of politics — and this is what you referred to in the first part of your earlier question — which is, you know, the thing that some people are referring to as the “new McCarthyism.”
This is, to me, the most worrying part of domestic Western politics, both here and in the United States, that the right wing is riding the horse of anti-antisemitism. In Germany, the AfD, which is the far-right anti-immigrant party, has been using antisemitism as a cudgel to — both as a ticket into the political mainstream and as a cudgel against a lot of anti-Israeli policy voices, many of which belong to Jews. And I think that what we have observed with the university presidents being called into Congress in the United States has definite similarities. It is also Elise Stefanik’s ticket into the political limelight and political mainstream. But it also — and this is the really important part — it is also based on a profoundly antisemitic worldview. Elise Stefanik is using these university presidents to attack liberal institutions, to attack Ivy League universities. And I think, in her imagination — and I think we know enough to know that this is how her imagination is working — she is trying to get donors to withdraw funding to undermine these institutions. And, of course, in her imagination, the Jews control all the money, so the donors are Jews. This is the most sort of basic antisemitic trope.
And the fact that the right is able to hijack the issue of antisemitism so effectively is truly dangerous, because you know what? Antisemitism is real. Antisemitism, when right-wing politicians or stupid politicians mix actual antisemitism with fake antisemitism, with what in Germany they called Israel-related antisemitism, which is basically criticism of Israel, what we end up with is a muddled picture in which Jews are being used and antisemitic worldview is being reaffirmed, and, ultimately, actual real antisemitism becomes a bigger danger.
AMY GOODMAN: And I wanted to end with another victim of the Holocaust, the LGBTQ community. Russia’s Supreme Court recently banned LGBTQ+ activism in a landmark decision Amnesty International blasted as “shameful and absurd.” The ruling, which asserts the international LGBTQ movement is extremist, threatens to further endanger already persecuted communities. Masha, isn’t that part of the reason you left the Soviet Union, you left Russia, to begin with? We just have a minute, but if you could comment?
MASHA GESSEN: Yes. I left — next week is 10 years since I was forced to leave Russia because of the anti-gay campaign that was already underway in Russia, and the Kremlin was threatening to go after my family.
AMY GOODMAN: Well, Masha Gessen, we thank you so much for joining us, staff writer at The New Yorker magazine, distinguished writer-in-residence at Bard, award-winning Russian American journalist, author of numerous books, including, most recently, Surviving Autocracy. Masha’s most recent piece for The New Yorker is headlined “In the Shadow of the Holocaust: How the politics of memory in Europe obscures what we see in Israel and Gaza today.” We’ll link to it at democracynow.org. Masha Gessen has been speaking to us from Bremen, Germany, where they will be receiving the Hannah Arendt Award, albeit at a different venue, not sponsored by as many organizations that originally were sponsoring that award.
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Israel Raids Freedom Theatre in Jenin Refugee Camp; Director Speaks Out After Being Jailed & Beaten
by Amy Goodman
DemocracyNow!
December 15, 2023
https://www.democracynow.org/2023/12/15 ... transcript
The Israeli military this week raided the Freedom Theatre in Jenin, a renowned cultural institution whose mission is to fight for Palestinian justice, equality and self-determination. It’s part of a wave of violence Israel has unleashed across the occupied West Bank since October 7, killing 58 people in Jenin alone even as the country intensifies its assault on Gaza. We speak with Freedom Theater artistic director Ahmed Tobasi, who was just released after being held for 24 hours. Two of his colleagues remain in Israeli detention. “The Israeli soldiers believe we are not human beings,” says Tobasi. “You are under occupation, and that’s your destiny as a Palestinian.” He decries the decades of international impunity under which the oppression of Palestinians operates, and calls on Americans to resist the use of their tax dollars to fund Israel’s violence. “They believe no one in this world can ask them to stop,” he says. We also get a reaction from Peter Schumann, the founder and director of the Bread and Puppet Theater, the legendary political and social justice-oriented theater company, marking its 60th year with a puppet show in New York City that is an ode to Gaza.
Transcript
This is a rush transcript. Copy may not be in its final form.
AMY GOODMAN: This is Democracy Now!, democracynow.org, The War and Peace Report. I’m Amy Goodman.
We turn now to the occupied West Bank, where Israel has killed at least 12 Palestinians during a three-day raid on the Jenin refugee camp, the largest raid there in 20 years. On Wednesday, Israeli soldiers raided the Freedom Theatre in Jenin, a renowned cultural institution whose mission is to fight for Palestinian justice, equality and self-determination. The theater has been repeatedly targeted by Israeli forces since its founding in 2006. In 2011, one of the theater’s founders, Juliano Mer-Khamis, was assassinated. In July, the theater was struck in an Israeli drone strike.
We’re joined now by Ahmed Tobasi, the theater’s artistic director, who was detained and beaten this week. Two of his colleagues remain detained, including the theater’s general manager Mustafa Sheta.
Ahmed, thank you so much for being with us. Describe where you are sitting right now, and then what happened to you this week. We’re seeing a raid that is one of the largest that Israel — I mean, frequently raids Jenin. One of the times it raided Jenin, it killed the Al Jazeera reporter. But, Ahmed, if you can talk about what’s happened now?
AHMED TOBASI: Just there is no words, actually. I could not find words to describe the pain, the sore that we have as the Palestinian and especially the people in Jenin and Jenin camp. I’m sitting in the middle of my office and Mustafa’s office. And for me, just like everything is destroyed. And you see all this mess. And I don’t know why. It’s because — this is theater. It’s not a military base. It’s not an artillery house. It’s not an armed place, or there is no guns. There is books, pictures, cameras, music and instruments. All of it been destroyed. The whole theater been — like, all computers, all offices been destroyed. And they’ve been writing and writing and drawing Hebrew things all around.
And, you know, just yesterday — before yesterday, I was actually in my house, which is in front of the Freedom Theatre, and I know — I was waiting — they’re going to come to check us in the house, because they’re going house to house. They’re arresting everyone, from like 13 to 60, 50 years old. And I was hearing them. They’re coming to my house, because they’re going house by house. And then they just broke the door of my house. I just went out to them and told them, “Please, there is children here. We are a whole family here, and we can do whatever you want. There is no need for violence. There is no need to do anything.” But quickly, they put the guns on me. They took me, put me down, and they started to beat me. And I don’t know why. I was telling them, like, “I have a Norwegian passport. I have Norwegian citizenship.” But they didn’t care.
They stormed in. They broke all the house. They broke everything, any electronic stuff, any glass. And they took my brother, too. The children were screaming, crying. And even they were screaming on them. And because I understand a little Hebrew, they were swearing at the children. They were screaming at my mom and dad, which is old people. And then they started to beat me, and then they handcuffed me. And they took me, and they put some even like army clothes on me, and they started to take pictures of me, taking poses, soldier by soldier, to show their girlfriends they are heroes. But while I was under arrest, under the guns, and they were taking these pictures from me.
And then they put me in a truck. They took me to al-Jalama checkpoint, and they threw me in the mud. It was raining. They threw me beside the street, where all the Jeeps, the vehicles, army go around me. And I don’t understand what is going on. Are they going to drive on me? Are they going to kill me? I don’t know what is going on, because I was blindfolded. And then they put me in another truck, and they took me to another place, where they throw us again outside, start to do like an immediate interrogation about my identity and, like, you know, intelligence. But it’s outside intelligence, in the rain. They didn’t let me even take my shoes or clothes to cover myself. It’s December. It’s very cold with the rain. And it was a torture in somehow, a psychological torture, mentally torture, that all the time the soldiers go around you with the guns, their guns touching you, and you’re just waiting the moment when they’re going to shoot you. Are they going to drive on you? Are they going to smash you? And, you know, they take you from place to place, place to place, makes you walk, that you don’t know, without shoes, with the mud.
So it was a whole crazy — I cannot — I cannot describe. This is happening. For me, it takes me directly to 2002, when I was 17 years old. It’s exactly the same thing happening. The Israelis have the machine time to bring you back 20 years just with one button, with one invasion. And for me, I am wondering how long this is going to happen again and again in the same way, and still the whole world looking, and they cannot do anything for us. We, as the Palestinians, we are too bored of this life. We are too bored of this legacy of the world, that they’re promising humanity, promising democracy. This is — this is — I cannot go on again. I mean, we, as the Palestinians, now we are at the point that we cannot wait for another promise. We have to do something even as the Palestinians.
But even though we still, in the Freedom Theatre, is a cultural, artistic place, where we have children, young people, girls, boys, women to come here to practice, to find a place where they can express themselves, where they can imagine there is a better life, a better place in this world, where they can decide their future in different ways, to choose to be different from the reality that we’re living. And still the Israelis come, and they’re telling us, “No, you cannot dream. You cannot think that you can be something different from the reality around you. You are under occupation, and that’s your destiny as a Palestinian, to grow up, to be born, to grow up and die under brutal, crazy, violent occupation,” that they don’t believe in anything, not in art. They arrest us as artists, as the people who do theater. They arrest — they destroy everything that shows there is culture, there is art, that we Palestinians, we are a normal people. The Israeli soldiers believe we are not a human being. That’s why they’re killing us in very easy way. That’s why they destroy theaters and cultural places, because also they believe no one in this world can ask them to stop. No one can tell them, “You can’t do this.” They believe, as Israelis, they can do whatever they want, and no one in this world can tell them what you are doing.
So, I am asking all the artists in this world — and, you know, as Juliano Mer-Khamis and Zakaria Zubeidi, the main founders of the Freedom Theatre, was believing the Third Intifada, which we’re doing now, is going to be a cultural, artistic intifada. We’re asking also all the friends all around the world, you have to unite, and we have to fight not just for Palestinians. We have to fight this planet, for the humanity, for each community and each country still under colonization or under occupation. This planet is very important, that we can live together in this planet without all this hate, without all this violence, that the only country creating this and make all this world unstable, it’s Israel.
AMY GOODMAN: I wanted to play the words of Juliano Mer-Khamis, again, the co-founder of the Jenin Freedom Theatre. He was killed in 2011 in Jenin, shot by masked assailants. We talked to him when he was in the United States. He talked about the theater’s mission, that you’re sitting in right now, the theater that is once again ransacked. This is Juliano.
JULIANO MER-KHAMIS: My name is Juliano, and I’m the director of the Freedom Theatre in Jenin refugee camp. The Freedom Theatre is a venue to join the Palestinian people in their struggle for liberation. We believe that the Third Intifada, the coming intifada, should be cultural, with poetry, music, theater, cameras and magazines.
This place never had a theater. This place never was exposed to these arts. So, actually, we are building everything from scratch. We are building capacity, building of actors. We are building capacity, people of audience. You know, sometimes it’s easier to create actors than audience. We are dealing with the young generation to expose them to these arts.
The location of the Freedom Theatre — and don’t let this view to deceive you — we are sitting in the mid of the most attacked and poor refugee camp in Palestine: the refugee camp of Jenin. We are talking about almost 3,000 children under the age of 15 suffering from post-traumatic stress disorder. It means they pee in their pants when they are 11. It means they cannot concentrate. They cannot deal with each other without violence.
AMY GOODMAN: That was a promotional video that Juliano Mer-Khamis did for the Jenin Freedom Theatre, talking about the theater’s mission. And we’re right now in the Jenin theater, in the Freedom Theatre, with one of the people who — Ahmed Tobasi, who is now the artistic director. Juliano was killed, assassinated in 2011. So, Ahmed Tobasi, you were held for 24 hours. The general manager of the theater, Mustafa Sheta, is still being held. Do you know what’s happening to him, and the other scores of men who have been taken at this point, Israel saying they are Hamas?
AHMED TOBASI: You know, in a way, that the Freedom Theatre, as you said and as you mentioned, being attacked all the time, that Jenin camp being attacked, it’s like we are part of this place, and the Israelis have no differences to look at the organizations, like Freedom Theatre as an artistic, cultural organization which should be safe as an international organization.
Yes, at the same time, Mustafa Sheta also was taken, the same time I was taken. And I think he been taken to other place, which is clearly that they’re going to hold him. We still do not have any information about him. Soon after this program, I will go to his family to see if they got any news about him. But, for sure, there is many friends around the world trying to push to get some information or at least to push to release him.
Another student also was also arrested yesterday. You know, even our kids, after the July invasion, being killed in front of the theater. We have now three people, three young people, been killed from the children of the Freedom Theatre. And still, like 15 years now, 20 years, we work in building this place. In the last July, been destroyed. We rebuild it again. We fix it again. But now, after two, three months, again they come and destroy everything. They even stole the computers. It’s crazy. This army have no morals. They steal computers. They are not soldiers. They are just thieves.
But, yeah, it’s crazy that — we talked to a lawyer, that he’s going to start looking for information and see what the situation of Mustafa. But, for sure, Israelis do not give informations that easy, and because he’s still not in, like, a clear prison. He still may be under interrogation. And that’s what we are worrying about, because also the head of the board of the Freedom Theatre been already one year, arrested before one year, and there is no any clear evidence about what is the accuse about him.
So, you see, as an artistic field, as an artist in Palestine, that’s the way that we live our life. That’s the way we do our theater, our work in art. We are not looked as a different way. But that’s our mission. That’s my mission, to keep the Freedom Theatre open, to save Juliano’s legacy and keep fighting for the same things that we believe. And we know that in Palestine, to be an artist, that’s also a chance that you’re going to be arrested or killed even.
AMY GOODMAN: I wanted to end today’s show, if you will stay with us, Ahmed, with another theater director, Peter Schumann, the 89-year-old co-founder of the legendary Bread and Puppet Theater. It’s here in New York at the Theater for the New City with a show that is an ode to Gaza. I went to it last night. Peter, we only have a minute. Then we’re going to continue the conversation after with Ahmed. But if you can — if you want to share your thoughts with Ahmed right now about what you’re doing as he called for solidarity with his theater?
PETER SCHUMANN: Oh my god, Amy, just to listen to this report of Ahmed and this company. Oh my god, I’m crying all the way through it, in fury and in solidarity. It’s unbearable. Unbearable. And to think that this stupid organization called the Freedom and Democracy, or some [bleep] like that, that doesn’t exist —
AMY GOODMAN: You can’t curse, Peter. You cannot curse on the air.
PETER SCHUMANN: OK, no more cursing. OK, no. Big honor. It’s so wonderful. Right. Unbelievable that this is a Congress of cowards, a president who seems to be an idiot. So that’s a curse. It’s unbelievable what this country is supporting. I don’t get it, because it isn’t just Israel at all.
AMY GOODMAN: Well, let me ask —
PETER SCHUMANN: It’s the weapons and the —
AMY GOODMAN: Let me ask, in the last 30 seconds, Ahmed Tobasi, about the U.S. position, and if you have a message, Ahmed, for President Biden?
AHMED TOBASI: I’m sorry for the Americans that the Israel — all the support of taxpayers goes to Israel to kill children and kill women. For me, this money should go to create art, to create culture, to support artists, to build theaters, to build artistic and cultural organizations all over the world, to save artists in China, in Russia, even in U.S. I want this money not goes to create weapons. Americans, you are getting your picture in a way — not in a right way, because all this military support and all this military crazy support goes to change your pictures as a human. I believe our friends in America — we have the Friends of the Freedom Theatre in New York. They are Jewish, and they are supporting us. And I’m asking them: Change the tax.
AMY GOODMAN: Ahmed, we have to leave it there. Ahmed Tobasi, artistic director of Freedom Theatre, just released by Israel, and Peter Schumann. Thank you.