I'm Israeli. Am I allowed on your streets?

Glorifying Terror at Way Out West. A Fancy Architecture Firm Rejects Israeli Colleagues. And a Mob Threatens to Attack Israelis in Central Stockholm.
Published in Swedish daily Svenska Dagbladet: https://www.svd.se/a/VzExKW/jag-ar-israel-kan-jag-leva-har

It’s a spiral — it starts with a feeling of discomfort and eventually leads to avoiding certain environments. If, for example, you're a Jewish music lover and the Way Out West festival is a must on your events calendar, maybe this year you skipped it because of one of the festival’s main acts – Kneecap. The festival describes them as “controversial Belfast rappers creating music for the powerless and the voiceless.” It doesn’t specify who those voiceless people are, but a clue might be that one of the Irish rappers, during a performance, shouted “up Hamas, up Hezbollah” while wearing a Hezbollah flag. The oppressed and supposedly powerless turn out to be fascist, chauvinist, racist, antisemitic, and well-funded terrorist organizations.

Screenshot

When the Swedish Jewish Central Council asked Way Out West to cancel the band, the festival chose to play the freedom-of-speech card – something they likely wouldn’t have done if it had been a band supporting far-right rather than far-left populists. But the real issue is that Kneecap gave the festival exactly what it seemed to want – an image of uncompromising, righteous rebels standing up to censorship and oppression. Music industry professionals know very well they have everything to gain and nothing to lose when B-list celebrities scream “Fuck Israel” while they whisper to each other that the Jews are once again whining about antisemitism and supporting genocide.

Way Out West is just one example. In October, Swedish Jews will likely also avoid Kulturhuset, which has chosen to use taxpayers’ money to fund a public discussion moderated by Shora Esmailian. The event marks two years to the October massacre of Israelis and Kulturhuset couldn't come up with a more suitable candidate than Esmailian. The same Esmailian who was moved by images of Hamas fighters invading Israel to massacre, rape, and kidnap hundreds of civilians, and who later explained that “the reason hostages were taken was because it’s the Palestinians’ only way to negotiate for freedom”.

Many Swedish Jews who have nothing to do with Israel’s war in Gaza feel deeply uncomfortable attending events where support for Hamas is tolerated. For their own sake, they stay away. Sure, they’re not being kicked out – not yet – but when it comes to Israelis, there’s a more proactive attitude.

Boycott is now the latest trend and a cheap way to craft a virtuous image.

A group of Israeli architects and designers who had scheduled meetings with Swedish colleagues ahead of their visit to Sweden received the following reply from an architect at White, one of Scandinavia’s leading architecture firms:
“I’m relatively sure that neither you nor your fellow travelers support what the Israeli government is doing, so this might seem strange, but as long as the State of Israel continues its war tactics, we will have to pause tours and collaborations. See it as a form of pressure.”

It’s a revealing message. The sender assumes the group members oppose Netanyahu’s government and its Gaza policy — which many Israelis do. But it doesn’t matter. All Israelis are automatically canceled. If the Swedish architect truly cared about Palestinian victims and wanted to work toward ending the war, he would support more dialogue with Israelis, not less. But these symbolic gestures are solely about appearing virtuous and morally superior. It’s not even about buying into the absurd narrative that Israel is a colonialist project — because White has previously collaborated with Israeli colleagues. But now, boycotting is the trendy new stance and an easy way to signal virtue.

Who cares that millions of Israelis have fought for their lives and political freedoms over the past two years? Who cares that thousands of deadly rockets from six countries have rained down on them? Who cares that academic boycotts, trade blockades, and cultural isolation only strengthen the extremist forces on both the Israeli and Palestinian sides, while hurting the moderate, pragmatic voices trying to build bridges?

The spiral ends with a mob out on the streets, hunting for Israelis.
“We don’t accept war criminals walking freely in our streets,” read a post calling people to gather outside a hotel in Stockholm where an Israeli tourist — spotted in the city center — was staying. Rumors began circulating on social media — “an IDF soldier in Stockholm!” — and the digital intifada took off.
“Israeli passports should not be accepted at the border!” read one comment.
“The problem is they usually have two passports — one from their real country and one from Israhell,” said another.
Finally, came the demand for blood:
“Let’s go there. Who’s coming with me? We should take the law into our own hands,” one user wrote on X, continuing: “Violence must be used.”

Is the goal to organize a lynching or to pose as humanitarian superheroes? It doesn’t really matter.

It’s easy to threaten tourists.

But what about me? I’m Swedish, but also an Israeli-Jewish Zionist. I write for Haaretz, an Israeli newspaper critical of the Gaza war. Still, like many of my colleagues, I’ve served in the IDF. That said, I thought I was fully integrated into Sweden and that my presence here was just as unconditional as anyone else’s. Is that no longer true? Like most Israelis, I’m not afraid of self-righteous bullies shouting “no Zionists on our streets” – so this is just a rhetorical question – I’m neither a tourist, an architect, nor a Way Out West fan. But I am a Swedish-Israeli who loves his country of origin – Am I allowed to walk your streets?

In Kulturhuset's Defence

Some places, the ones where we send our young children, the places where we treat our pain, and those where we invest our shared resources, should be free from polarizing content. Schools, hospitals, and clinics, and yes, if it’s public and taxpayer-funded – even Kulturhuset – have no place for Quran burnings, no place for NMR marches, and absolutely no place for polarizing political propaganda. Not even if 15-year-olds created it.

An article from Kvartal (January 22) tells of an incident in the Stockholm suburb of Husby last spring. High school students from a local school exhibited paintings they created in the foyer of Kulturhuset, which is owned by the City of Stockholm and shares premises with Husby’s public culture school. The paintings were the result of lessons on post-colonial theories and art at the students' school. A few hours after they were displayed, the paintings were taken down. Kulturhuset stated that the paintings were “strongly anti-Israeli” and “bloody, political, and violent.”

Reactions were swift. The school's principal defended the students' right to express their opinions, and the art teachers felt that the decision was a form of censorship. Lars Nittve, former director of Stockholm’s Modern Art Museum and London’s Tate Modern, wondered how “scary” drawings and paintings could be, and Makode Linde criticized concerns over art that distanced itself from the “ongoing genocide in Gaza and the occupation of Palestine.”

Some of the paintings that provoked reactions were published in the media: a Palestinian flag over a map of Israel, and images depicting slavery and colonialism in Africa. One painting was not mentioned. This painting depicts one image of three men standing over a fourth man who is lying down, and another of two faceless soldiers leaning on a Palestinian flag. It’s unclear whether the flag is covering anything, but it is obvious who the soldiers are – they have armbands, similar to the ones Nazi soldiers wore with swastikas. On the armbands, there is an Israeli flag.

According to the Kvartal article, there is no documented evidence from Kulturhuset that anyone was upset by the exhibition.

However, it wasn’t hard to find such a person. “I came to Kulturhuset and saw that paintings were being hung on the wall. When I looked at them, my heart ached, I felt cold, and I started trembling with shock over seeing the hatred,” said a person with Jewish background who was at Kulturhuset when the paintings were hung up and chose to remain anonymous because he is worried about his safety.

For those who are not familiar with Middle Eastern politics, it might seem strange, but a map of Israel covered by a Palestinian map is as loaded and shocking as a map of Poland covered by a Nazi flag or a map of Ukraine covered by with a Russian flag. It symbolizes ethnic cleansing for Israelis. Paintings depicting Israeli soldiers as murderers support the narrative that Israel is the aggressor and the Palestinians are the victims, while ignoring the October 7 massacre, Israeli hostages, and rocket attacks on Israel. The context of post-colonialism challenges Israel's legitimacy as a state and its right to exist.

It doesn’t matter if these claims are true or whether such opinions should be allowed to be expressed. This is not about censorship or freedom of speech. Yes, students should be encouraged to think critically and creatively. Yes, we must encourage an open public debate. But the issue here is a different one – the relationship between publicly funded institutions and controversial political content.

Kulturhuset manager, Malin Dahlberg, pointed out that there is a responsibility to create a safe and comfortable environment in public spaces. According to her, removing only the most problematic paintings would be insulting to those who created them, which is why all the paintings were taken down. Leaving them up could also expose the students to a media storm that no 15-year-old could handle.

Dahlberg is right.

Sweden is a polarized country where people have strong opinions and personal connections to the conflict in Gaza. People are bombarded with extreme views on social media. Some believe it is an Israeli genocide, while others see it as an Islamist holy war of extermination against Israel. Many have relatives affected by the violence. Many are angry and scared.

These people have something in common. They all need healthcare, education, and welfare. We must be able to offer safe spaces for this. There are many places for political activism – squares for demonstrations, galleries for political art, youth movements for youth activism, organizations for humanitarian work, and media for political debates.

Some places, the ones where we send our young children, the places where we treat our pain, and those where we invest our shared resources, should be free from polarizing content. Schools, hospitals, and clinics, and yes, if it’s public and taxpayer-funded – even Kulturhuset – have no place for Quran burnings, no place for NMR marches, and absolutely no place for polarizing political propaganda. Not even if 15-year-olds created it.

A letter to Athena

Published in Swedish in Svenka Dagbladet:

https://www.svd.se/a/RGLvzO/oppet-brev-ar-israeliska-forfattare-bannlysta-pa-kulturhuset

Athena Farrokhzad is responsible (together with Ida Linde) for the international literature stage at Stockholm's Kulturhuset stadsteatern, arguably one of Sweden's most important literary institutions.

David Stavrou is an Israeli/Swedish journalist based in Stockholm.

Hej Athena,

Since we don't know each other, I'll start by introducing myself and explaining why I'm writing to you publicly.

I'm a journalist who writes for "Haaretz", one of Israel's daily newspapers. Although I write about various issues worldwide, as an Israeli who's lived in Stockholm for many years, I'm particularly interested in Swedish politics, economy, society and culture. As you can imagine, these days "Haaretz” is highly focused on the terrible war in Gaza and its implications for Israel. As a foreign correspondent, rather than writing about the military and political issues of the war, I've concentrated on some of its European aspects – demonstrations, diplomacy, and its effects on local Jewish communities.

At some point, another issue caught my interest – the intense debate about the war in cultural circles. I decided to ask leading cultural figures about how the war has affected their work.  I wanted you to be my first interlocutor after I discovered that Kulturhuset had invited Palestinian writer Adiana Shibli for a discussion in March. I thought this was an interesting and exciting choice. Unlike others, I don't see any problem in hosting Shibli, but I was interested in the larger picture: how Kulturhuset is affected by the war that everybody's interested in (unlike, say, recent conflicts in Ethiopia, Sudan or Azerbaijan)? Are you planning to host writers from both sides of the conflict? Is your strategy to embrace the political debate or focus on more abstract themes? Do you have to deal with a lot of political pressure?

When I discovered that you yourself are very politically active, I became even more interested. After all, you're not only a writer, but also a public figure with a key role in Sweden’s literary world – and you work for a public institution. So, I sent an interview request to Kulturhuset's press department. I think you know what followed.

After a few friendly messages, it was made clear that "Athena declines to participate in an interview at this time". I then wrote to you privately. And then I wrote again. And again. Obviously, you don't have to answer me and I guess no one can make you talk to journalists. Still, you're a public figure paid from public funds and I think, modestly, that my questions are important. In the past I've been granted interviews by Swedish parliamentarians, government ministers, and leaders in all aspects of Swedish political, social and cultural life. Most were happy to grant interviews, and I found it strange that you're so unavailable. So I decided that if you don't want me to ask my questions privately, I'll ask them here. Publicly.

First, Kulturhuset's program for the next few months doesn't include any Israeli writers. That's fine of course. Only a handful of countries are represented in the programme. But I noticed that a few years ago you signed a petition proclaiming that "we must refrain from Israeli participation in cultural exchanges". Have you changed your mind – or does the same policy apply now that you’re a public official? Are Israeli writers banned from Kulturhuset from now on? Will Stockholmers who are interested in meeting writers like David Grossman or Dorit Rabinyan be unable to do so anymore?

Secondly: the fact that your salary is paid by Stockholmers of all shades of opinion, hasn't stopped you from making some very extreme statements. On Instagram you recently told your friends who "spread the voices of the Palestinian resistance" that you'll see them on the streets next year for the "Global Intifada 2024". I’m sure you know that although the word "intifada" has many meanings, in the current Palestinian context it means violent resistance. My question is: as Stockholmers of all shades of opinion, might we be meeting violent resistance next time we visit Kulturhuset.  Or is our safety guaranteed only if we belong to those who "spread Palestinian resistance"?

For the next couple of questions, let me add some background. Solidarity with civilian victims of war and a demand for humanitarian aid are integral elements of Swedish mainstream politics. And rightly so. But in the Israeli-Palestinian conflict, there is a particularly extreme political thesis that is popular in certain circles. This school of thought proclaims that the war isn't a violent clash between two national movements with legitimate claims to the same territory, but instead involves colonialist Israelis committing genocide against powerless indigenous Palestinians. Historically this discourse is obviously uninformed: it ignores inconvenient truths like the fact that Jews are indigenous in Israel since they've lived in the region for thousands of years (including in Gaza where a synagogue predated the Viking period by hundreds of years), the fact that the Palestinian National movement has violent genocidal fractions (like Hamas) and the fact that the Arab world is at least as responsible for the Palestinian tragedy as Israel. Still, in a democracy it is legitimate to be ignorant.

But my third question isn't about ignorance, it's about what public servants are allowed to do and say. Athena, on social media you invite us to demonstrations against genocide which ignore the genocidal Hamas attack on October 7 and advocate destroying Israel by violent resistance (I know: I was there). You've also recently signed political demands addressed to various writers' associations (PEN, the Journalists association and the Writers Union) requesting stronger pro-Palestinian and anti-Israeli action. One can't help but wonder – are you using your status as a public appointee to promote agendas which some of those who pay your salary may strongly oppose? Is it reasonable for someone who sets an agenda to publicly express extreme ideas which many regard as not only mistaken, but also deeply offensive? These opinions may be appropriate for radical students living in a commune and publishing syndicalist poetry online magazines with 14 subscribers – but you're part of a municipal apparatus, responsible for the careers of many people. But you have a rather middle-class job which is meant to supply services to Swedish lovers of literature. If you want to be a militant freedom fighter, perhaps you should consider a career change? And if you don't, if you stand behind your opinions, why won't you talk to journalists about them?

The latest demonstration you publicly embraced occurred on International Holocaust Memorial Day. You shared a picture stating "Never Again for Anyone".  If the Palestinian flags and the dates shown (1941, 1948, 1967) weren't enough to clarify that you're comparing the current conflict to the Holocaust, your byline couldn't be clearer: "All of Sweden for Palestine in Stockholm on Saturday. Come, spread".

Again, one could argue about the absurdity of this comparison. How many Jews fired rockets at German civilians? How many Jewish militants raped German girls? And how many Jewish suicide bombers blew up German buses? I could ask about the Palestinian leader Haj Amin Al Hussaini, Hitler’s ally and supporter of the "Final solution". I could engage in this debate, but what's the point? You decline to grant an interview at this time.

But it's not only about words. Words lead to action. After the demonstration you promoted, a group of people, ("presumably from the demonstration" according to the police), arranged a “spontaneous demonstration” outside the synagogue where a memorial service was being held for the victims of the Holocaust. The demonstrators filmed the participants, including Holocaust survivors, and chanted slogans like "child killer" and "intifada". Is this also legitimate criticism of Israel, Athena? At the synagogue? On Holocaust Remembrance Day? Are you serious?

According to the working definition of the international Holocaust Remembrance Alliance, contemporary examples of antisemitism include "drawing comparisons of contemporary Israeli policy to that of the Nazis". You may object to this. In fact, I'm sure you do, and that's fine. But most western democracies – including your own government – disagree. Which means that Sweden's public institutions should be committed to this definition. So, I guess my last question is this: as someone who works for such an institution, are you committed? And more importantly, considering your involvement in antisemitic campaigns, am I still allowed in Kulturhuset? Or are Jews not welcome anymore?