Tuesday, 30 June 2020

Visit ‘Cry the Beloved Country’ – Palestinian Exhibition from Gil Mualem-Doron


This event for Refugee Week 2020 will be showing at P21 Gallery in September 2020.



‘Cry the Beloved Country' is an exhibition by Dr Gil Mualem-Doron, an Arab/Israeli artist that was scheduled for 2nd April.  Unfortunately it was caught by the COVID-19 lockdown. It is now being shown online until it is ready, probably on 27 September to be displayed physically.
Cry the Beloved Country’ will include a presentation of photography and film projects on the subject of Palestinian refugees and a conversation with the Palestinian historian Dr Salman Abu Sitta, the artist Dr Gil Mualem-Doron, Eitan Bronstein Aparicio the founder of the NGO Zochrot and De-Colonizer and the curator Ghazaleh Zogheib.
The event will include the presentation of the photography project "Present Absentees" about Palestinian internal refugees in Israel which won the third prize in the Long Exposure category in Local Testimony / World Press Photo 2020 and screening of the film To Gaza and Back Home - by Eitan Bronstein Aparicio and De-Colonizer.
The film documents the story of the destroyed Palestinian village of al-Ma’in, the Israeli settlement that was built on top of it, the story of the village's refugees and the reaction of the Israeli settlers when they faced the place's history when it was presented to them in an exhibition in one of the buildings that survived the destruction.
This Event is supported by Art Council England and Hub Collective.
Cry the Beloved Country’ was also a famous novel written in 1948 by the South Africa liberal Alan Paton.  I read it at school and it opened my eyes to Apartheid.
If you want to see the exhibition online please register here: or 
https://tinyurl.com/ybdpx3ko 

“Cry, the beloved country” is a nightmarish series of room installations and photography works dealing with the links between Great Britain, Israel and Palestine and depicting the catastrophic results of this unholy conundrum.  Built as a journey into “the heart of darkness” the exhibition is intended to negate many Israelis and Zionists supporters’ view of Israel as a “villa in the jungle”.

Dr. Gil Mualem-Doron (1970) is a Arab-Jewish artist, born and based in the UK. Mualem-Doron’s work is research-based, often transgresses social norms with a focus on issues such as identity politics, nationalism, placemaking and histories of place, social justice, and transcultural aesthetics. The exhibition’s text is written by the curator Galit Eilat director of Meduza Foundation  (Netherlands) and Eilat co-curated the [12] 31st São Paulo Biennial.
The exhibition title “Cry, the beloved country” is taken from an article published in the most read Israeli newspaper, Maariv, in 1953, by its chief editor Dr Ezriel Karlebach. In the article Karlebach compares some of the new state laws against the Arabs who became Israeli citizens to Nazi laws in the mid 1930s.
The article's title was taken from the well-known book by the same name, written in 1948 by the South African writer Alan Paton, and in which he depicts the rise of the apartheid regime. This article, alongside research into expressions and deeds by Israeli politicians, rabbis and settlers, inform the centrepiece of the exhibition – the reconstruction of an installation – a performance piece that took place on the eve of the centenary of the Balfour Declaration in Trafalgar Sq. 
In the performance, an actor dressed in a Klu Klux Klan cloak, partly made from Mualem-Doron’s Jewish prayer shawl, is standing and saluting Nelson’s statue whilst holding the Israeli Flag. The installation in the gallery includes photographs from this intervention as well as two others that took place in Tel Aviv and led to a near arrest of the artist.
The ground floor is occupied by a film installation juxtaposing a “postcard image” of Tel Aviv beach on the sunny day of the April 2019 election with chilling soundtracks of testimonies of Palestinians who have suffered attacks on beaches in Israel and Gaza. For the visitors to hear the soundtracks they have to use their bodies to physically obscure the projected image.
On the way to the gallery’s dark basement, the visitors encounter forty portraits of Israeli Palestinians (Palestinian who stayed during the 1948 war in what now is Israel and who are therefore Israeli citizens). The participants’ portraits were taken with a historical image of the village in which they or their parents were born and grew up in is projected on them and the wall behind. The land and houses of these people were confiscated after 1948 and their village was destroyed, along with 400 or so other villages in historical Palestine. 
The lands where the village stood is now part of the Zionist National Trust Forest and in part of a Kibbutz. Considered by the state of Israel as “Present Absentees”, they are among the hundreds of thousands of Israeli- Palestinians who are de facto internal refugees. This body of work recently won a 3rd place award at the photography exhibition Local Testimony which is part of the Magnum World Press photography exhibition, 2019.
The basement contains three other works that depict the relations between the British colonisation of Palestine and the present situation. The large installation is made out of 400+ Victorian roof tiles printed with Palestinian embroidery patterns, commemorating the destroyed Palestinian villages during and after the 1948 war. Broken tiles also form parts of miniature sculptures that link the current gentrification process in Jaffa to the Judaification of the old city. They also feature in a film depicting the destruction of the last remains of a Palestinian village on a beach in Tel Aviv.
In the past five years Dr. Gil Mualem-Doron has won several grants from the Art Council England additional to other public and private bodies, was commissioned to create new works by Counterpoints Arts, Brighton Pride, the Mayor of London and Ben & Jerry’s. His work has been exhibited at places such as Tate Modern, Turner Contemporary, the South Bank Centre, the Jewish Museum (London), and the People’s History Museum, Manchester, Haifa Museum of Art (Israel) and at Vrystaat Kunstefees Arts Festival, South Africa. Recently he gained artist residencies and solo exhibitions at Umm El-Phemem Gallery, Israel and Greatmore Art Centre in Cape Town, South Africa. More about Mualem-Doron can be found on www.gildoron.co.uk
The exhibition will be accompanied with a series of film screening and discussion on the issue of the Palestinian Nakba and the right of return, the parallels between South Africa’s Apartheid and Israel and a round table on the differences and similarities between political, activist, collaborative and transgressive art practices. 
p.s.
"The Holocaust should bring us to ponder our public lives and, furthermore, it must lead anyone who is capable of taking public responsibility to do so," Golan said. "Because if there is one thing that is scary in remembering the Holocaust, it is noticing horrific processes which developed in Europe – particularly in Germany – 70, 80, and 90 years ago, and finding remnants of that here among us in the year 2016…It's scary to see horrifying developments that took place in Europe begin to unfold here…"
IDF deputy chief, Yair Golan in a Holocaust MemorialDay speech, Israel, 5th May 2016

“We now have a law that confirms the Arab population as second-class citizens. It, therefore, is a very clear form of apartheid. I don’t think the Jewish people survived for 20 centuries, mostly through persecution and enduring endless cruelties, in order to now become the oppressors, inflicting cruelty on others. This new law does exactly that. That is why I am ashamed of being an Israeli today.”
Daniel Barenboim on the Basic Law: Israel as the Nation-State of the Jewish People, Today, I Am Ashamed to Be an Israeli (July 22, 2018), Haaretz.

A link to high-resolution images, a photoshoot at the gallery and an interview with Mualem-Doron can be arranged by contacting the artist on 07954439301 or gilmdoron@gmail.com or the P21 Gallery 020 7121 6190 or info@p21.org.uk 
Further information about selected works:
The sea is the same sea, and the Arabs...” a film installation (London’s Square, Tel-Aviv, Israel 2019).
The film and images from the installation can be viewed here:

The film installation juxtaposes a “postcard image” of Tel Aviv’s beach during the sunny day of April 2019 election with a chilling soundtrack made of a series of testimonies of Palestinians who were victims of racially motivated attack which took place at several beaches in Israel in the past few years. None of the perpetrators of these were found or jailed.
In addition, the installation includes an audio interview with two Palestinian women from the Occupied Territories who saw the sea for the first time after they were smuggled there for a getaway day with their children. The last recording is taken from a well-known media record of  Huda Ghalia, age 11, who lost all of her family in an attack on Gaza beach, in 2006 by the Israeli marines.
Visitors who would like to hear the alternative soundtrack to the film via headphones have to block with their bodies part of the projected image, casting a shadow on the screen that opens the space to these often muted and forgotten voices.
The title of the installation “The sea is the same sea, and the Arabs...” is part of a well known quote by Yitzhak Shamir, the extreme right-wing terrorist and former Israeli prime minister. The full quote, 

“The sea is the same sea and the Arabs are the same Arabs” 

implied that "the Arabs had not changed their animosity towards Israel and their desire to throw the Jews into the sea" – a view cherished and propagated by the current prime minister Benjamin Netanyahu.
 Cry, the beloved country (2015) A mixed-media installation and street intervention
The work comprises of a mannequin wearing a Ku Klux Klan costume, partly made from a Jewish prayer shawl that was used originally by the artist in his Bar Mitzva ceremony. The figure is positioned to gaze at a series of quotes written on the gallery’s wall as if trying to decipher their origins:  Adolf Hitler? Al Qaeda?  The KKK? Donald Trump? Or Israeli rabbis and politicians. The answer is by all but it is very hard to guess the origins as the phrasing and the themes of these quotes are very similar. The visitors will be able to obtain online the quotes with the reference of their authors/utterers.     The room installation was firstly conceived for an art gallery in Tel Aviv in the wake of the Duma village arson attack which resulted in the loss of life of three of the same family members; 18-month-old Ali Dawabsheh was burned alive in the fire, while both his parents died from their injuries within weeks. After the submission of the work to the gallery an email from the gallery manager stated that
a. the work is not art
b.  it is too risky for the gallery to show and
c. that it is a family-friendly gallery and this will deter families from participating in other activities.  
As a result a street intervention was staged outside Tel Aviv Museum of Art, in response to death threats the artist received from one of the Museum’s trustees after creating work in responding to “Operation Protective Edge”  / Gaza war 2014. Another intervention took place outside the “Independence Hall” in Tel Aviv and in
London’s Trafalgar Square on the day of the 100th anniversary of the Balfour Declaration.
The full texts used for the work and images from the street interventions in London and Tel Aviv can be found on the work’s webpage mentioned above .
3.    “Present Absentees” socially engaged photography project (Israel, Umm El Faheem   Gallery and the Elderly House, 2019). 
[shepherd]
The project depicts the issue of “Present Absentees” or Internally Displaced Persons (IDP’s) in Israel. Present Absentees are Palestinians who fled or were expelled from their home in Mandatory Palestine by Jewish or Israeli forces, before and during the 1948 Arab-Israeli war, but who remained within the area that became the state of Israel. They are regarded as absent by the Israeli government because they were absent from their homes on a particular day, even if they did not intend to leave them for more than a few days, and even if they left involuntarily. IDPs homes, property and lands were seized by Israel. 274,000 Arab citizens of Israel (1 out of 4) are
IDP. The project was created during an Artist’s Residency at Umm El Fahem Gallery, Israel and the photographs were taken in the gallery as well as in The Elderly House in the town. Local residents were invited for a photoshoot in which they were photographed on the background of historical photos of Al-Lajoun – a nearby village where they or their ancestors were born. The houses and the land of the village were confiscated by the state after 1948 and the village was destroyed shortly after.
The land and some of the survived buildings belongs today to the Jewish National Fund (KKL in Hebrew) and used as a park. In 2017, KKL-JNF friend and supporter Jose Luis Mendoza, president and founder of the Catholic University of San Antonio of Murcia, Spain donated further funds to cover the area of the village with further forest trees. Other parts of the village land were given to Kibbutz Megido in which until today one of the village mosques is located. In the last decade, the original residents of El Lajun were trying to negotiate as well as start legal cases, aiming to gain back some of the lands that were taken. Others created plans that envisaged the re-building of the village. More info about the village can be found here:
The participants in the photoshoot were asked to choose which of the historical photos, taken from Umm El Fahem Gallery archive,  they would like to be photographed with. The photos were projected on a wall and the participants were positioned in front of the projected image. They could not see the projected image that was behind them and blinded by the light emitted from the projector, they could not see the action, the photographic act nor the photographer. One of them described his experience as being in a visual vacuum – blinded and left only with his thoughts or memories of the village. Only after the photo was taken the participants could see on the camera’s digital screen how they were positioned in the village landscape and chose the photo that they were happy with.  The project was chosen to be exhibited in Edut Mekomit / Local Testimony 2019 in the Eretz Israel Museum. 
4. No Man’s Land  (Hama’s Series) 2019
I met Hamad (pseudonym)  during an Artist’s Residency at Umm El Fahem Gallery, Israel. He is the third generation of a family that originated in  Al-Lajoun village that was under heavy attack in 1948 War and then was destroyed by the state of Israel. The village’s lands were confiscated by the state and were given to the Jewish National Fund (KKL in Hebrew) and now are used as a park.
Other parts of the village land were given to Kibbutz Megido in which until today one of the village mosques is located. A few ruined buildings and the village’s graveyard are still there.
Hamad from time to time visits the site where his granddad’s house used to be. The photos, taken in the dead of the night, depicts him meandering in the fields that now belong to the kibbutz, next to some ruins and in the graveyard. Not wanting to be recognized I suggested he will wear a cloth, resembling Jalabia – traditional regional wear. There are almost 300,000 ghosts like Hamad haunting the Holy Land.
5.     “Visit Israel – You Will Never Be the Same” Series of photo collages with Active Stills collective (2016)
A series of photographs by the celebrated Israel-Palestinian photography collective ActiveStills and the photojournalist Michaela Whitton that is used as a mock tourism campaign by the Israeli Tourism Ministry, using the ministry's latest campaign slogan and modified logo. 


Sunday, 28 June 2020

What is the difference between a Prostitute and a Journalist? One sells their body, the other sells their mind

The New Statesman's Stephen Bush & Ailbhe Rea Are a Perfect Illustration of Journalists Who Reinforce Rather than Question Those in Power
It is a question that has often puzzled me? Why is it that 90+% of journalists have no integrity or honesty? It can’t just be the money. Does the atmosphere and norms of a newsroom corrupt them? Or are most journalists already corrupted before they even begin their jobs?
It reminds me of the saying of Humbert Wolfe:
you cannot hope to bribe or twist 

(thank God!) the British journalist.
But, seeing what the man will do 
unbribed, there’s no occasion to.

In an interview with Noam Chomsky in February 1996 Andrew Marr fatuously asked “How can you know I’m self-censoring?” Marr smugly assumed that Chomsky would not be able to answer this question since no one can get inside the mind of another. But Chomsky responded:
“I’m not saying you’re self-censoring. I’m sure you believe everything you say. But what I’m saying is if you believed something different you wouldn’t be sitting where you’re sitting.”
As Marr admitted this was unanswerable, not because it was a conspiracy as he alleged but because it wasn’t a conspiracy. Marr would not be fronting the BBC’s key Sunday politics show if he was not a right-wing Tory. It is inconceivable that such a programme could be hosted by a socialist journalist.
Andrew Neil, who was so concerned about 'Labour antisemitism' hired holocaust denier David Irving to examine the Goebbels Diaries for the Sunday Times
It is hard to point to one mainstream TV political correspondent who isn’t on the Right. Andrew Marr, Laura Kuensberg, Andrew Neil, Fiona Bruce, Robert Peston, Michael Crick etc are all right-wing. Andrew Neil, as Editor of the Sunday Times, employed a holocaust denier, David Irving, to examine the Goebbels Diaries and employed an open anti-Semite, Taki at The Spectator.
Despite this Andrew Neil was a fervent advocate for the ‘Labour is anti-Semitic’ narrative. Indeed he asked the killer question of Corbyn, ‘will you apologise to the Jewish community for anti-Semitism’ at the last election. If Corbyn hadn’t been so stupid and if Seamus Milne had bothered to brief him for the interview, then Corbyn could easily have turned the tables.
Does anyone think that Boris Johnson became a Telegraph columnist by chance, having already been sacked by The Times for lying? Does anyone think that Jonathan Freedland would be in a position to be the Guardian’s gatekeeper if he wasn’t an integral part of the British Establishment and almost certainly an Intelligence Asset?
The fact that a brilliant journalist like John Pilger, a man who played a key part in revealing the role of the United States in genocide in East Timor and Pol Pot in Cambodia and who is responsible for saving the life of thousands with his journalism, can be kept off the BBC and out of the British press illustrates Chomsky’s point.
Julian Assange
The role of the yellow press is best illustrated by the torture of Julian Assange. His lawyers fear for his life in Belmarsh yet the Press have not raised a squeak of protest. I feel guilty even comparing journalists to prostitutes. Prostitutes are forced to sell their bodies and can at least take a shower afterwards. Journalists cannot expunge their treachery so easily given that they betray people with malice aforethought.
The Guardian exploited Assange and Wikileaks for a series of exposes such as Kenyan President Daniel Arap Poi looting hundreds of millions of pounds and placing it in over 30 countries. 
As Editor Alan Rusbridger wrote:
In Britain the Guardian was, for many months, the only paper to write about WikiLeaks or to use any of the documents they were unearthing.’
And how did the Guardian repay Assange after he had sought sanctuary in the Ecuadorian Embassy after the submission of an extradition request from Sweden on bogus allegations of rape, whose sole purpose was to send him back to the United States?
There were a constant stream of attacks by people like Suzanna Moore, perhaps the most disgusting ‘journalist’ of all. It’s no coincidence that one of the papers she used to attack Assange was the New Statesman.
In one tweet Moore called Assange a ‘flattened guinea pig’.  to which I responded that I could only assume that it was a bird that Moore had sat on. 
Germaine Greer observed that Moore possessed “hair bird's-nested all over the place, fuck-me shoes and three fat inches of cleavage.’
Marina Hyde is a 'journalist' without any seeming purpose to her
If you want to get the measure of the treachery of Guardian journalists such as Marina Hyde, James Ball etc. then read ‘How the Guardian’s deferential mediocrities behaved like a pack of wolves in defence of the special relationship & the British state’. John Pilger called her behaviour ‘slow witted viciousness.’
The lies and fake news of the Guardian as they tried to undermine Julian Assange
This culminated in November 2018 in a Guardian fake news story about talks between Trump’s Campaign Manager Paul Manafort and Assange in the Ecuadorian Embassy. There was no truth in it but the Guardian have refused to provide any proof of their allegations.
But this is not just true of the mainstream press. It is equally true of the New Statesman, a magazine that likes to think of itself as on the radical wing of the British press but in reality functions as a repository for failed Establishment journalists who like to think of themselves as radical.
Audrey, Berry and Campbell
To be fair, it has had periods in the 1970’s and 1980’s when the New Statesman was a radical paper. One of its journalists was a friend of mine from the days of Brighton Voice, Duncan Campbell, who was prosecuted with two others in what became known as the ABC Trial.
Campbell together with Crispin Aubrey and John Berry were charged under the Official Secrets Act but the case blew up in the face of the State. All 3 were convicted but such was the atmosphere surrounding the case that custodial sentences were not imposed.  It was an example of a right-wing Labour government in action.
Today Campbell would have no place in the New Statesman which functions as a repository for mediocrities or failed Guardianistas.
In much the same way journalists of the calibre of Jonathan Steele, John Palmer and David Hirst  would not be employed by The Guardian today.
As John Pilger observed
many journalists now are no more than channelers and echoers of what Orwell called the official truth. They simply cipher and transmit lies. It really grieves me that so many of my fellow journalists can be so manipulated that they become really what the French describe as functionaires, functionaries, not journalists.
New Statesman – a Propaganda Vehicle for the JLM
The New Statesman bought into the fake ‘anti-Semitism’ smear campaign 101%, acting like a propaganda vehicle for the Zionist (Jewish) Labour Movement. They printed a piece by Mike Katz and Adam Langleben denying that their then Chair Ivor Caplin had accepted Labour’s Anti-Semitism Code of Conduct in 2018.
The Jewish Chronicle report Jewish Labour Movement chair condemned over Labour antisemitism meeting claimed that Caplin ‘was 'played' by Labour leadership’. At the next JLM AGM Caplin was heavily defeated, with less than 20 votes against 160 for Mike Katz as Chair. Caplin didn’t appreciat that the whole purpose of the ‘anti-Semitism’ campaign was that the issue could never be resolved without Corbyn’s resignation. It wasn’t about anti-Semitism.
That famous Zoom meeting
When Jackie Walker and I spoke at a Zoom meeting with Dianne Abbot and Bell Ribaire-Addy – the Press narrative was about Anti-Semitism not Free Speech and none more so than Ailbhe Rea’s Labour’s Zoom call row reveals a party deeply divided over racism
You might think it an absurdity that two Jewish people, one of whom was Black, could be used as an example of ‘anti-Semitism’. But this all took place in the context of the narrative that anti-Semitism = anti-Zionism.  Since both of us were Jewish anti-Zionists, we were therefore anti-Semites according to the ‘logic’ of Israel’s defenders.
The attempt to ‘no platform’ us by the Board of Deputies, which has unquestioning support for Israel and Zionism hardwired into its constitution, is no different to the banning of anti-Apartheid activists in South Africa under the 1982 Internal Security Act. Just as Jewish anti-Zionists are hated by Zionist Jewish Supremacists, so White anti-Apartheid activists were hated by supporters of Apartheid. Indeed we are both termed ‘traitor’ by the respective nationalists.
The witless Rhea wrote that Keir Starmer is facing his first test over antisemitism since becoming Labour leader’. As George Orwell observed in 1984
“War is peace.
Freedom is slavery.
Ignorance is strength.”

Two Jewish anti-Zionists who use their Jewish identity to oppose the actions of a racist ‘Jewish state’ which separates and segregates its Arab citizens in schools, employment and housing, even to the extent of operating segregated maternity wards, where Jewish women can give birth without the presence of Arab women,  are called ‘anti-Semitic’. We used to be called ‘racist’ by the National Front and BNP as part of their ‘'Defend Rights for Whites' campaign.
Instead of dealing with the question at the heart of the issue, namely whether criticism of Israel and Zionism is anti-Semitic Rea meekly accepted the Zionist narrative. Rea wrote:
He [Starmer] has come in for criticism, however, for not expelling the pair, having signed a pledge during his leadership campaign promising to suspend MPs or activists “who support, campaign or provide a platform for people who have been suspended or expelled in the wake of antisemitic incidents”.
The row exposes the complexities underlying Starmer’s clearly stated and simple commitment to stamping out antisemitism within Labour...
There is, firstly, the practical challenge of trying to implement the above pledge in an online context. The fifth of the Board of Deputies’ pledges to stamp out antisemitism outlines a clear “no platform for bigotry” policy,...
Nowhere does Rea explain how ‘stamping out anti-Semitism’ accords with banning 2 Jewish anti-Zionists.
If this had been 1933 then Rhea would have been asking the same questions as Viscount Harmsworth when he whitewashed Hitler’ anti-Semitism, alongside most of the British press, the Daily Mirror and Times included. Harmsworth wrote that:
‘They have started a clamorous campaign of denunciation against what they call 'Nazi atrocities,' which, as anyone who visits Germany quickly discovers for himself, consists merely of a few isolated acts of violence.’ 
This was a time when both Churchill and Lloyd George welcomed Hitler to power as a bastion of defence against Communism.
What kind of Uncle Tom calls criticism of Israeli Apartheid an 'antisemitic trope'? Step forward Stephen Bush
Stephen Bush, the Political Editor of the New Statesman, is if anything worse than Rea. In his piece for the ‘i’ he accepts that Starmer’s mission is ‘to rid the Labour party of the taint of antisemitism’.
Starmer has appointed a Committee of hand picked right-wingers in order to gloss over the racism revealed in Labour’s leaked Report. See for example Yomi Adegoke’s The leaked Labour report reveals a shocking level of racism and sexism towards its black MPs.
Bush has nothing to say about this or indeed the anti-Semitism of the head of the Compliance Unit, John Stolliday who referred to Ed Miliband as ‘beaker’.
When you think that those who were behind Labour’s ‘anti-Semitism’ smear campaign were John Mann, a virulent anti-Roma racist and Tom Watson, who in the 2004 by-election in Birmingham Hodge Hill, issued as Campaign Manager a leaflet which saidLabour is on your side, the Lib Dems are on the side of failed asylum seekers."
The same Tom Watson who ‘lost sleep’ when racist Labour MP Phil Woolas was removed from Parliament by the High Court, having waged an election campaign designed to ‘make white folks angry’ There is only one conclusion you can draw. Stephen Bush is yet another example of a presstitute as well as an Uncle Tom journalist.
A friend has just rung me up, she is a Black woman, to tell me that she is being investigated by the Labour Party because she commented on social media about the fact that the genocide in the slave trade and in the Congo is ignored whilst the holocaust of Jews (but no others) is prioritised.  She feels aggrieved. She is an anti-racist campaigner yet she is being targeted by Labour with the full support of Bush.
The ‘anti-Semitism’ campaign has targeted not only Jewish anti-racists but also Black activists such as Marc Wadsworth and my friend. Black people ask why anti-Semitism, a marginal prejudice in Britain, is held to be so important whilst actual racism, such as Windrush is ignored. Yet they are told by the Labour Party that they are responsible for preventing Labour campaigning against racism! This is one of the charges now made by the witch-hunters. And Uncle Tom journalists like Stephen Bush lend their name to this campaign.
There is no Jewish Windrush scandal. No Jews have been deported. There is no state racism against Jews. Jews are not disproportionately imprisoned or the victims of Police violence because they are White.  Yet collaborators like Bush, in their eagerness to please the British Establishment, bend over backwards to repeat the ‘anti-Semitism’ mantra about Labour anti-Semitism.
To Bush alleging that Israel trains and helps militarise police forces in the United States is an ‘anti-Semitic conspiracy theory’. The fact that this is well documented by groups like Amnesty International is irrelevant. ‘Journalists’ like Bush never ask basic questions such as why Black Lives Matter consider Israel an Apartheid and Genocidal State. BLM have been repeatedly accused of ‘anti-Semitism’. It would no doubt be worth more than their jobs to mention this and would lead to him no longer being invited on BBC programmes.
Wikipedia tells us that Presstitute is a ‘portmanteau of press and prostitute’.  It is a journalist who writes what their Editor expects. A journalist who writes to please those in power but whose writing is devoid of all substance and analysis. It is not the ‘why’ but the ‘how’ that is important. They writing is descriptive rather than analytical. They describe procedure and process and assume their case without ever arguing or explaining it.
For example the Labour Party at the Zionist insistence adopted the IHRA misdefinition of anti-Semitism in September 2018.  Why?  To redefine anti-Semitism in such a way as to net criticism of Israel. Yet virtually none have spoken out.  When my dad, like thousands of other Jews, ignored the Board of Deputies to take part in physically opposing the British Union of Fascists, he didn’t need a definition of anti-Semitism to know what it’s about.
For Bush and Rea ‘Labour anti-Semitism’ is received wisdom. It is part of what Chomsky called ‘manufacturing consent’.
Labour anti-Semitism’ became a ‘disinformation paradigm’ in which all evidence to the contrary was excluded. ‘Journalists’ like Rea or Bush would never think of asking such basic questions as to why the whole of the Tory press, which is so unconcerned about other forms of racism, was obsessed by ‘Labour anti-Semitism’.
Why should the Daily Mail and Sun, which employed Katie Hopkins, for whom refugees were ‘cockroaches’, a term the Nazis applied to the Jews, be so concerned about ‘anti-Semitism’? Such simple questions were never asked because their answers would throw into doubt the basic assumptions of the paradigm.
 Or why Boris Johnson, who calls Black people ‘picanninies’ with ‘water melon smiles’ and who has written a novel, ’72 Virgins’ which depicted Jews as controlling the media, is also concerned about ‘Labour anti-Semitism’. Such basic questions as these have never occurred to presstitutes like Rea or Bush.
Julian Assange
The purpose of the writing of ‘journalists’ like Bush and Rea is to reinforce the disinformation paradigm and the existing narrative. It is not to challenge it or ask questions. Of course it wasn’t always like this. Julian Assange is a prime example of a journalism which revealed horrific war crimes.
Chelsea Manning served 10 months in solitary confinement rather than betray Julian Assange - Guardian journalists couldn't even give up their lunchbreak
Assange is paying for his journalism with his liberty and possibly his life but this is of no concern to the Bushes and Rhea’s of the New Statesman or the yellow press in Britain. If you want to look for someone with integrity and courage you have to go to the United States where Chelsea Manning endured 10 months imprisonment in solitarity confinement rather than testify against Assange. The only sacrifices Rea and Bush are likely to make is in foregoing the best seats in a restaurant.
Tony Greenstein
Open Letter to Ailbhe Rea
Dear Ms Rea,
On 1st May this year, you wrote an article ‘row over Diane Abbott and Bell Ribeiro-Addy’s online meeting with expelled members’. Jackie Walker and myself were in the audience when both MPs spoke and after they had spoken we both spoke.
Any radical journalist with an ounce of integrity would have asked why the Board of Deputies were concerned with preventing our free speech. What had they to fear? Someone who wasn’t simply acting as an echo chamber for the lies and deceptions of the purveyors of Labour’s false anti-Semitism campaign would have asked a few questions.
However you are not the kind of journalist to ask questions of those in positions of power. You are the equivalent of a faithful court reporter, who records the views of the powerful. Those who are responsible for the ‘anti-Semitism’ campaign are nothing if not powerful.
They include for example Donald Trump who, when telling 4 Black Congresswomen to ‘go back home’ added for good measure that they hate Israel and are anti-Semitic. The same Trump who tells American Jews that their ‘real home’ is Israel and that they “don’t love Israel enough.’
Of course the Board of Deputies which welcomed Trump to power has no objection to such anti-Semitism because Zionism’s foundational beliefs is that Jews do not belong in non-Jewish society.  That was the whole point of Zionism.
 It would be churlish to point out all the figures on the far-Right who love Israel and Zionism. People like the neo-Nazi founder of the alt-Right Richard Spencer, a ‘White Zionist’. Or Tommy Robinson for whom Israel is the embodiment of the ethno-nationalist state.
An honest journalist might point out that the Board has support for Israel and Zionism hardwired into its constitution and ask if there was any connection with it taking umbrage at 2 Jewish activists, one of whom was Black.  However you are neither honest nor a journalist.
A journalist with an ounce of integrity would ask why an organisation which has never concerned itself with the anti-Semitism of the far right should be concerned with preventing free speech of Jewish anti-fascists.
If you had been daring you might have drawn an analogy with South Africa and ‘banned persons’ under the 1982 Internal Security Act. It was a criminal offence to quote or even mention the existence of banned persons. White opponents of Apartheid, like Jewish anti-Zionists today, were particular targets.  
Anyone who has pretensions to the title ‘journalist’ might ask why it is that the Board of Deputies opposed Jews in the 1930s physically confronting Moseley’s British Union of Fascists and in the 1970s did the same with the Anti-Nazi League which was ‘constantly under attack from the Jewish Board of Deputies.’ according to Paul Holborrow.
Why is it that the Board of Deputies’s first ‘anti-racist’ demonstration was not against the National Front or BNP but against Jeremy Corbyn? Any journalist who was not prostituting themselves to the powerful would have asked these simple and obvious questions.
Any journalist with even an iota of honesty would have asked why the Board’s demonstration included Norman Tebbit of the ‘cricket test’ and Protestant bigot Ian Paisley MP. This must have been the first ‘anti-racist’ demonstration for both of these gentlemen or for another two Uncle Toms, Sajid David and Chuka Ummuna.
Of course you asked none of these questions because you don’t see your role as asking questions of those in power. Your duty is to echo the views of the British Establishment.
If you were to ever exercise the grey matter between your ears you might understand why a ‘Jewish’ State in a land whose indigenous population was ethnically cleansed cannot be other than a racist state. By its own definition Israel is a state of its Jewish citizens only. However you are not employed to think either.
In Afula crowds of demonstrators, led by their Mayor, protested at the sale of a house to an Arab in an all Jewish city. Dozens of rabbis in Israel have forbidden the letting of homes to Arabs. But you and Bush, are journalists in name only.
For Stephen Bush to cover up the crimes of Apartheid Israel is to make him complicit. The use of the charge of ‘anti-Semitism’ is no different to the accusations of ‘anti-White’ racism that the Apartheid regime in South Africa levelled at opponents. This is why Bus is an Uncle Tom journalist. Any Black journalist who defends Apartheid is a collaborator.
Yours is not to reason why. Yours is but to libel and lie. Even your references to Jackie Walker and I having been expelled for ‘anti-Semitism’ had to be corrected. You hadn’t bothered to ask simple questions such as why, despite being suspended for ‘anti-Semitism’ the Labour Party didn’t charge us with anti-Semitism. Strange that.
If you had been particularly adventurous you might have drawn an analogy with McCarthyism in America when people were banned from public platforms and prevented from working in the film industry. People like Pete Seeger to Charlie Chaplin.
If you or Bush had been around no doubt you would have cried ‘communist’ at fellow journalists. Both of you are the direct descendants of the ‘liberal’ journalist Arthur Schlesinger who went out of his way to attack those who were ‘communists’. When you shout ‘anti-Semite’ today you are doing no more than those who used to shout ‘Communist’.
The irony of all this is that the New Statesman was founded by a genuine anti-Semite, Sidney Webb. Webb, who was Colonial Secretary in Ramsay MacDonald’s 1929 government, proclaimed that ‘French, German, Russian socialism is Jew-ridden. We, thank heaven, are free.’ And why? ‘There’s no money in it.’. [Paul Kelemen, The British Left & Zionism p. 20]. Ramsay MacDonald when visiting Palestine in 1922 contrasted the Zionist pioneers with
‘the rich plutocratic Jew, who is the true economic materialist. He is the person whose views upon life make one anti-Semitic. He has no country, no kindred... he is an exploiter of everything he can squeeze. He is behind every evil that Governments do... He detests Zionism because it revives the idealism of his race.’ [David Cesarani, Anti-Zionism in Britain, p.141].
It is ironic that you and Stephen Bush, in your condemnation of ‘anti-Semitism’ are working for a publication founded by an anti-Semite!  You are indeed Webb’s bastard children.
Have a good day! 
Tony Greenstein