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Victory is defeat: Palestinian children’s art exposes Israel’s cultural genocide 

Mar 07,2023 - Last updated at Mar 07,2023

The following text tells the whole story of what pro-Palestinian communities around the world are fighting for, and what pro-Israelis are fighting against: “We are delighted to report that Chelsea and Westminster Hospital has removed a display of artwork designed by children from Gaza.” 

 That was the summary of a news report published on the homepage of the pro-Israel group, UK Lawyers for Israel (UKLFI). The group is credited for being the party that managed to successfully persuade the administration of a hospital in West London to take down a few pieces of artwork created by refugee children from Gaza.  

Explaining the logic behind their relentless campaign to remove the children’s art, UKLFI said that “Jewish patients” in the hospital “felt vulnerable and victimised by the display”. The few pieces of artwork were those of the Dome of the Rock in occupied East Jerusalem, the Palestinian flag and other symbols that should hardly victimise anyone. 

 The UKLFI article was later edited, with the offensive summary removed, although it is still accessible via social media. 

 As ridiculous as this story sounds, it is, in fact, the very essence of the anti-Palestinian campaign launched by Israel and its allies worldwide. While Palestinians are fighting for basic human rights, freedom and sovereignty as enshrined in international law, the pro-Israel camp is fighting for a total and complete erasure of everything Palestinian.  

Some call this cultural genocide or ethnocide. While Palestinians have been familiar with this Israeli practice in Palestine since the very inception of the state of Israel, the boundaries of the war have been expanded to reach anywhere in the world, especially in the western hemisphere. 

 The inhumanity of UKLFI and their allies is quite palpable, but the group cannot be the only party deserving blame. Those lawyers are but a continuation of an Israeli colonial culture that sees the very existence of a Palestinian people with a political discourse, including children refugees’ art, as an “existential threat” to Israel.  

The relationship between the very existence of a country and children’s art may seem absurd — and it is — but it has its own, albeit strange, logic: As long as these refugee children recognise themselves as Palestinians, as long as they will continue to count as part of a larger whole, the Palestinian people. This self-awareness, and the recognition by others — for example, patients and staff at a London hospital — of this collective Palestinian identity, makes it difficult, in fact, impossible, for Israel to win. 

 For Palestinians and Israelis, victory means two entirely different things, which cannot be consolidated. For Palestinians, victory means freedom for the Palestinian people and equality for all. For Israel, victory can only be achieved through the erasure of Palestinians — geographically, historically, culturally and in every way that could be part of a people’s identity. 

 Sadly, the Chelsea and Westminster Hospital is now an active participant in this tragic erasure of the Palestinians, the same way that Virgin Airlines bowed to pressure in 2018 when it agreed to remove “Palestinian-inspired couscous” off its menu. At the time, this story appeared as if it was a strange episode in the so-called “Palestinian-Israeli conflict”, though, in reality, the story represented the very core of this “conflict”.

 For Israel, the war in Palestine revolved around three basic tasks: Acquiring land; erasing the people and rewriting history.  

The first task has been largely achieved through a process of ethnic cleansing and unhinged colonisation of Palestine since 1947-48. The current right-wing extremist government of Benjamin Netanyahu is only hoping to finalise this process.  

The second task involves more than ethnic cleansing, because even the mere awareness of Palestinians, wherever they are, of their collective identity, constitutes a problem. Thus, the active process of cultural genocide. 

 Though Israel has succeeded in rewriting history for many years, that task is now being challenged, thanks to the tenacity of Palestinians and their allies, and the power of social and digital media. 

 Palestinians are arguably the greatest beneficiary of the rise of digital media. The latter has contributed to the decentralisation of political and even historical narratives. For decades, the popular understanding of what constitutes “Israel” and “Palestine” in mainstream imagination was largely controlled through a specific Israeli-sanctioned narrative. Those who deviated from this narrative were attacked and marginalised, and almost always accused of “anti-Semitism”. While these tactics are still unleashed at critics of Israel, the outcome is no longer guaranteed.  

For example, a single tweet exposing the “delight” of UKLFI has received over 2 million views on Twitter. Millions of outraged Brits and social media users around the world have turned what was meant to be a local story into one of the most discussed topics, worldwide, on Palestine and Israel. Expectedly, not many social media users took part in the “delight” of the UKLFI, thus forcing them to reword their original article. More importantly, millions of people have, in a single day, been introduced to a whole new topic on Palestine and Israel: that of cultural erasure. The “victory” has turned into a complete embarrassment, let alone defeat.

 Thanks to the growing popularity of the Palestinian cause and the impact of social media, initial Israeli victories almost always backfire. A more recent example is the dismissal and the quick reinstatement of the former Director of Human Rights Watch, Kenneth Roth. 

 In January, Roth’s fellowship at Harvard University’s Kennedy School was revoked due to the recent HRW report that defines Israel as an apartheid regime. A major campaign, which was started by small alternative media organisations, resulted in the reinstatement of Roth within days. This, and other cases, demonstrates that criticising Israel is no longer a career-ender, as was often the case in the past. 

 Israel continues to employ old tactics to control the conversation on the Israeli occupation of Palestine. It is failing because those traditional tactics can no longer work in a modern world in which access to information is decentralised, and where no amount of censorship can control the conversation. 

 For Palestinians, this new reality is an opportunity to widen their circle of support around the world. For Israel, the mission is a precarious one, especially when initial victories could, in hours, become utter defeats.

 

Dr Ramzy Baroud is a journalist, author and the editor of The Palestine Chronicle. He is the author of six books. His latest book, co-edited with Ilan Pappé, is ‘”Our Vision for Liberation: Engaged Palestinian Leaders and Intellectuals Speak Out”. His other books include “My Father was a Freedom Fighter” and “The Last Earth”. Baroud is a non-resident senior research fellow at the Centre for Islam and Global Affairs (CIGA). His website is www.ramzybaroud.net

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