Pages: 1 2
The problem began when I resolved to come back with a film that showed both sides of the coin. Actually there are many more than two. Which is why my film is called Forty Shades of Grey. But only one side was wanted back in Dublin. My peers expected me to come back with an attack on Israel. No grey areas were acceptable.
An Irish artist is supposed to sign boycotts, wear a PLO scarf, and remonstrate loudly about The Occupation. But it’s not just artists who are supposed to hate Israel. Being anti-Israel is supposed to be part of our Irish identity, the same way we are supposed to resent the English.
But hating Israel is not part of my personal national identity. Neither is hating the English. I hold an Irish passport, but nowhere upon this document does it say I am a republican, or a Palestinian.
My Irish passport says I was born in 1983 in Offaly. The Northern Troubles were something Anne Doyle talked to my parents about on the nine o’clock News. I just wanted to watch Father Ted.
So I was frustrated to see Provo graffiti on the wall in the West Bank. I felt the same frustration emerge when I noticed the missing ‘E’ in a “Free Palestin” graffiti on a wall in Cork. I am also frustrated by the anti-Israel activists’ attitude to freedom of speech.
Free speech must work both ways. But back in Dublin, whenever I speak up for Israel, the Fiachras and Fionas look at me aghast, as if I’d pissed on their paninis.
This one-way freedom of speech spurs false information. The Boycott Israel brigade is a prime example. They pressurised Irish supermarkets to remove all Israeli produce from their shelves — a move that directly affected the Palestinian farmers who produce most of their fruit and vegetables under the Israeli brand.
But worst of all, this boycott mentality is affecting artists. In August 2010, the Ireland-Palestine Solidarity Campaign got 216 Irish artists to sign a pledge undertaking to boycott the Israeli state. As an artist I have friends on this list — or at least I had.
I would like to challenge my friends about their support for this boycott. What do these armchair sermonisers know about Israel? Could they name three Israeli cities, or the main Israeli industries?
But I have more important questions for Irish artists. What happened to the notion of the artist as a free thinking individual? Why have Irish artists surrendered to group-think on Israel? Could it be due to something as crude as career-advancement?
Artistic leadership comes from the top. Aosdana, Ireland’s State-sponsored affiliation of creative artists, has also signed the boycott. Aosdana is a big player. Its members populate Arts Council funding panels.
Some artists could assume that if their name is on the same boycott sheet as the people assessing their applications, it can hardly hurt their chances. No doubt Aosdana would dispute this assumption. But the perception of a preconceived position on Israel is hard to avoid.
Looking back now over all I have learnt, I wonder if the problem is a lot simpler.
Perhaps our problem is not with Israel, but with our own over-stretched sense of importance — a sense of moral superiority disproportional to the importance of our little country?
Any artist worth his or her salt should be ready to change their mind on receipt of fresh information. So I would urge every one of those 216 Irish artists who pledged to boycott the Israeli state to spend some time in Israel and Palestine. Maybe when you come home you will bin your scarf. I did.
Nicky Larkin’s ‘Forty Shades of Grey‘ will premiere in Dublin in May;
Freedom Center pamphlets now available on Kindle: Click here.
Pages: 1 2