Gaza Kids to Ireland – Media

RTE – Ballybrack Match Report 

Irish Times – Children’s Football Team from Palestine Arrive for Match

Gaza Kids to Ireland – Sandymount Beach

Clare FM from 31.45 – Interview 

Clare FM article

Newstalk  Interview-  About ¼ way through

Newstalk article – The Kids are their Window to the World Outside

Newstalk – Watch Gaza Kids Leave Ireland

Electronic Intifada – Gaza Football Club Dazzles Ireland

The Soccer Show – Al Helal Gaza Academy V Kinvara United

Lmerick Post – Gaza Brings Fancy Footwork to Limerick

Wexford Welcome for Palestinian Youths

GK3

Limerick Live – Limerick Hosts U 14 soccer Team from Gaza

Palestine Monitor – Gaza Children Return After a 10-day Football Trip in Ireland

Broadsheet – Meanwhile in Nenagh

Galway Bay FM – Gaza Children Visit Kinvara

PNN – Israel Didn’t Break Spirit of Gaza Kids to Ireland

Irish America – Gaza Kids to Ireland Scheme a Success

Ireland Today – Kids Football Team from Gaza Enjoy a Historic Trip to Ireland

Tipperary Star- Nenagh Opens its Doors to U14 Gaza Soccer Team

FM 104 – Gaza Kids Play Football on Southside

Zazafl: Gaza Kids to Ireland – It Happened

The Shebab from Al Helal

Blixa Bargeld and Teho Teardo, Don’t Play Apartheid Israel

Dear Blixa and Teho,

Since the beginning of this campaign, we have been pondering the fact that Blixa has made a film for television on the ex-Israeli musician and activist Dror Feiler, which is due to air on the Arte TV channel four days before Blixa’s own planned concert in Tel Aviv on 15 September.

It is commendable that this film will shine a light on Dror’s activities, which most significantly include his participation in several of the flotillas to break the Israeli government’s brutal siege of Gaza. However, Blixa’s planned concert in Tel Aviv, four days after the broadcast of this film, would completely negate any positive impact coming from it, and would amount to both an affirmation and amplification of Israeli propaganda. The proximity of the broadcast to Blixa’s scheduled breach of the Palestinian BDS (Boycott, Divestment and Sanctions) call inevitably gives the impression that the former in some way is expected to justify the latter. The Israeli government, by viewing “culture as a propaganda tool of the first rank”, has created a zero-sum game scenario, the iron logic of which allows for no ambiguity and can only be successfully opposed by a boycott. By weaponising culture itself, the Israeli government further compels artists to decide between providing it with further ammunition or refusing to be complicit in this. It is precisely for this reason that Palestinian civil society has called for a cultural boycott of Israel.

In addition, while the tension arising from the broadcast of the film and the breach of the boycott immediately afterwards appears to give rise to an interesting dialectic, this scenario is achieved at the expense of Palestinian suffering. It seems, therefore, that Blixa is instrumentalising Dror Feiler, but also, and more importantly, the wider political situation as a whole purely for effect. By the same process the Israeli government will be able to instrumentalise Blixa for its own propaganda aims. We wonder if Blixa feels comfortable being used by a state that employs culture as a weapon while also using physical weapons such as cluster bombs and white phosphorous against the Palestinian people, killing and maiming thousands.

Furthermore, artists should not think that in using their performances in Israel as a platform to criticise the state and its policies they are constructively contributing to the Palestinian cause. They are doing nothing of the sort, but rather they facilitate Israeli government in its propaganda by allowing it to portray itself as a democracy tolerant of criticism, when, in fact, this is not the case.

Nor is the argument valid that there are other states in breach of international law, the point is that the Palestinian people have called for a boycott, just as those struggling against South African apartheid did. All that is being asked of you is that you not cross the Palestinian picket line.

Even if there is no direct government involvement of funding in this particular gig, PACBI’s guidelines stipulate “In general, PACBI urges international cultural workers (e.g. artists, writers, filmmakers)… where possible and as relevant, to boycott and/or work towards the cancellation of events, activities, agreements, or projects involving Israel, its lobby groups or its cultural institutions, or that otherwise promote the normalization of Israel in the global cultural sphere.” And “It must be emphasized that a cultural product’s content or artistic merit is not relevant in determining whether or not it is boycottable.”

The reality is that for Israel any show that isn’t cancelled because of BDS appeals is considered a political victory over the Palestinian struggle and international solidarity with it. Hence any artist that’s been appealed to and refused to boycott is a win for Israel, in the view of the state.

Performing in Tel Aviv means playing for a segregated audience, on ethnically cleansed land, can you really see yourselves doing that?

For these reasons, we must repeat, with added emphasis, what so many international groups wrote to you in their first letter: “The call to boycott Israel until it complies with international law and universal principles of human rights was first made in 2005, by over 170 (now over 200) Palestinian civil society groups. The boycott is a non-violent tactic against oppressive state power. It would be extremely disappointing if artists of your stature chose to break this call for solidarity with the Palestinian people, particularly at a time when Israel is escalating its daily attacks on them.”

In all of this the plight of the Palestinians is once again pushed into the background and the foreground struggle becomes that of yet another high-profile western artist refusing to use their position of privilege to stand in solidarity with people who have only asked that they do no harm. Therefore we would like to conclude by quoting the Palestinian Students’ Campaign for the Academic Boycott of Israel’s letter to you:

“We are asking you to not side with the oppressor by performing in Tel Aviv 15th September. Don’t let your music normalize the racist brutality and the ethnic cleansing Palestinians suffer from day in day out under the control of the Israeli Apartheid regime. Instead, let your music stand on the right side of history. If you do so, you will look back with a clean conscience when the day arrives that we Palestinians are granted the same human rights as anyone else.”

Letters

From Gaza

 From International Groups

From Boycott from Within (2

  From Don’t Play Apartheid Israel

From Boycott from Within (1)

PALESTINIAN-ISRAEL-CONFLICT-GAZA-FLOTILLA

Palestinians hold their national flag as they ride boats during a rally to show support for activists aboard a flotilla of boats who are soon to set sail for Gaza in a fresh bid to break Israel’s blockade of the territory, at the seaport of Gaza City on June 24, 2015. Freedom Flotilla III

Tel Aviv https://electronicintifada.net/content/jaffa-eminence-ethnic-cleansing/8088

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Blixa Bargeld and Teho Teardo – Please Don’t Play Apartheid Israel

Dear Blixa and Teho,

 

We are very dismayed to see that you have a concert in Israel on 15th September this year and are writing to ask you to reconsider playing there and breaching the Palestinian picket line.

Many principled musicians chose to take a stand and cancelled their gigs in Israel and we hope you will join them. As Thurston Moore explained after he cancelled last year: “It was with serious deliberation that I eventually arrived at the personal conclusion that to perform with my band in Israel was in direct conflict to my values. With the realization that a cultural and academic boycott is central to its purpose in exposing a reality of brutal human rights violations – including those accompanying Israel’s discriminatory laws and occupation of the West Bank – I felt the need, with humility, to cancel the engagement.”

Many artists of conscience have chosen not to play there since Palestinians are denied their most basic human rights by Israel. They have heeded the Palestinian call to boycott which was issued in 2005 and has the support of more than 200 civil society organisations.

Large swathes of Palestinian land have been stolen and ethnically cleansed for the development and expansion of illegal Israeli settlements. Currently over 500,000 illegal settlers live in the West Bank in direct contravention of international law.

Palestinians are denied their fundamental right to freedom of movement. A vast matrix of checkpoints, roadblocks, walls and fences separates local villages and towns from each other, and sometimes even cuts entire towns in half. Israeli settlers face no such restrictions, they travel on Jewish-only roads and live in illegal Jewish-only settlements at the expense of Palestinians. This Israeli government policy of segregation has had a devastating effect on the livelihoods and family life of millions of Palestinians and is uniformly condemned by human rights groups.  Many of those who resisted and protested South African apartheid are horrified by the brutality of Israeli apartheid and how it is used against the Palestinians. You will be playing to a segregated audience if you play this gig.

In 2014 Israel’s bombardment of Gaza’s dense civilian population killed over 2,200 Palestinians, with 550 children murdered and thousands more injured. Over 100 thousand people have been left homeless. Israel carried out similarly devastating massacres in 2012 and in 2008-2009. UN reports have found significant evidence of war crimes in these attacks including the use of white phosphorus – a chemical weapon, and the murder of unarmed civilians carrying white flags. Of course, no sanction has been invoked against the perpetrator of these crimes which is why it is so important that civil society act.

To compound the misery, virtually no building materials are allowed due to the ongoing Israeli siege of Gaza which controls what commodities enter, even down to the amount and type of food and medical supplies, and leave the territory.

Palestinians are also subjected to mass imprisonment. The Israeli military has detained around 750,000 Palestinians since 1967. The Israeli army tries prisoners – including minors – in closed and unaccountable military courts, denies them access to lawyers, subject them to tortures and abuses, all in contravention of international law.

Further to the situation of the 4 million + Palestinians in the occupied West Bank and Gaza, the 1.5 million Palestinians having Israeli citizenship face racial discrimination enshrined in more than 50 Israeli laws that systematically, directly or indirectly, discriminate against them. There are also approximately 5 million Palestinian refugees scattered worldwide who are denied their right to return to their homes.

Since October 2015 220 Palestinians have been killed by Israeli forces in the militarily occupied West Bank.

This Palestinian-led Boycott, Divestment, Sanctions (BDS) campaign, modelled on the boycott against apartheid South Africa, is supported by over 1,000 culture workers in the UK alone and many more artists worldwide. The boycott has been respected by many artists, including: Leftfield, the Killers, Thurston Moore,  Lauryn Hill, Roger Waters, Elvis Costello, Brian Eno,  Mira Nair, Ken Loach, Massive Attack and Alice Walker.

Israel is all too aware of the power that artists wield. Since 2006 it has been running an aggressive PR campaign it calls ‘Brand Israel’, deliberately using culture as propaganda. This PR campaign seeks to promote an image of the state as a peace living, fun and vibrant liberal democracy, and obscure its violent and racist reality. The aim is to promote a false image in order to distract from the harsh realities of occupation, dispossession and wanton destruction.

Israeli promoters and propagandists for Israel tell musicians that art should not mix with politics and that artists do not play for the government but merely entertain ordinary people. But in fact,  Israel has been using artists who breached the boycott as a means of legitimising their crimes against the Palestinian people.

You face a choice – you can stand up for human rights and against oppression and injustice by respecting the Palestinian boycott call. Or you can allow yourself to be cynically used for the whitewashing of apartheid.

We hope that you will cancel your planned gig in Israel on September 15th and refuse to entertain Israeli apartheid.

Many thanks for reading, in solidarity,

DPAI (Don’t Play Apartheid Israel)

We are a group, of over 1700, representing many countries around the globe, who believe that it is essential for musicians & other artists to heed the call of the PACBI, and join in the boycott of Israel. This is essential in order to work towards justice for the Palestinian people under occupation, and also in refugee camps and in the diaspora throughout the world.

Blixa Bargeld and Teho Teardo: Don’t play in Apartheid Israel.

 

Blix