תגית: Nakba

When it comes to the past, Medelhavsmuseet (The Swedish Museum of Mediterranean and Near Eastern Antiquities) largely ignores Israel, but when it comes to the present the museum presents only different shades of the same narrative, one that excludes a balanced, mainstream Israeli perspective. This in itself is not necessarily a problem. However, since public funds are being used and this is all payed for by tax-payers money, why not invest in presenting all sides of the story? Are Israelis so dehumanized that their pain, loss, and sacrifice are not considered worthy of being told?

Published in Swedish in Svenska Dagbladet: https://www.svd.se/a/K8Bn37/medelhavsmuseets-selektiva-historia

The lecture hall at Medelhavsmuseet was full on September 4th. The evening seminar which took place there was called "Repair, Return and Reconstruction for Palestine’s Decolonized Future", and in case the message wasn’t clear enough from the name, during most of the evening there was a photograph of Gaza and a slogan in Arabic and English projected on the screen behind the panel members. The slogan read: “Glory to Gaza”.

The seminar itself wasn’t exactly intellectually challenging and the message was pretty straight forward. When Israel was mentioned by all speakers it was associated with very specific words. Genocide, occupation, oppression, destruction, starvation, ethnic cleansing, collective punishment and settler-colonialism were some of the favourites. There was also a consensus about the Palestinian reaction to the Israeli aggression. Here the popular words were: education, culture, conservation, de-colonization, renovation and restoration. Listening to the panel members it sounded like Palestinian resistance is all about Mahmoud Darwish poems, architecture podcasts and a struggle for free press.

In an hour and a half of debate there was nothing about Palestinian terror or violence, there were no suicide bombings or rockets, Hamas wasn’t mentioned and October 7th was just the date when the current Israeli offensive started. Since all panel members were engaged in architecture and restoration and apparently very well acquainted with Gaza, it was interesting that the immense military underground tunnel infrastructure, a remarkable architectural achievement in itself, was not mentioned. There was also no mention of another kind of physical destruction – the one of Israeli communities. No destroyed and abandoned kibbutzim, no apartments demolished by Qassam rockets and no homes burned to the ground with entire families still inside. There were no hostages, no executions and no organized rape and sexual violence. The whole event felt like a motivational inspirational gathering for activists, where all the speakers clearly presented a Palestinian narrative, and many in the audience were members of the so-called "pro-Palestinian" movement. Some wore kaffiyehs, a couple of them even had red triangles (a Hamas symbol) on them.

In itself, all this is completely legitimate. In a democracy, people are free to organize whatever seminar they wish. What is, however, somewhat troubling is that Medelhavsmuseet is part of a government agency (Statens museer för världskultur) funded by taxpayers, with tens of millions of Swedish Crowns each year. When Rani Kasapi, Head of Content and Learning at Världskulturmuseerna, opened the seminar, she also mentioned that other institutions were also involved in organizing it: the Swedish Institute of International Affairs (UI), the Swedish Research Institute in Istanbul (SRII), and the Swedish Arts Grants Committee. All of these are also fully or partially funded by Swedish taxpayers, raising the question – why should funds that could be spent on education and culture for the benefit of all be used for a one-sided, highly political event based on foreign policy propaganda?

Perhaps, the idea was to have another event to balance the message and show another side and a different narrative. And indeed, on October 7th, a very symbolic and politically charged date, another event was planned by the museum. This time the title was: What’s Happening in Israel Now? (Vad händer i Israel nu?). In a perfect world, this could have been the the missing piece, the event that shows that the situation is more complex than just propaganda. But the world isn’t perfect. According to publications, the event had only one speaker – Göran Rosenberg. The same Rosenberg who only a few months earlier described Israel as a "morally dead project" and questioned its future existents in its current form. It’s as if the museum invited an anti-vaxer to lecture about the importance of vaccinations. Was it really so hard to find another voice to describe the situation in Israel? One who at least believes in its future?
Medelhavsmuseet has hosted more events about the region in the last couple of years — for example, there was a book talk with Cecilia Uddén, one of Swedish media’s most critical voices when it comes to Israel. There was also a UI event featuring several Israeli left-wing activists. But the bigger picture is that, aside from rare exceptions, Medelhavsmuseet largely presents different shades of the same narrative, one that excludes a balanced, mainstream Israeli perspective. This in itself is not necessarily a problem. However, if public funds are being used, why not invest in presenting all sides of the story? Are Israelis so dehumanized that their pain, loss, and sacrifice are not considered worthy of being told?

Looking a bit deeper, it’s obvious that Medelhavsmusset doesn’t ignore the Israeli perspective only when it comes to the current conflict. For some reason, it ignores Israel’s existence all together (apart from occasionally mentioning it as a colonial bully destructing the fascinating, authentic and noble people of the orient). Israel as a modern state and the ancient Jewish entities in the Eastern Mediterranean like the Kingdoms of Jehuda and The Northern Kingdom of Israel are a treasure of history, archaeology and ancient culture. They’re the origin story of Christianity and Western civilization and a fascinating story of cultural, social and linguistic revival. Still, in the last twenty years of exhibitions, it seems like Medelhavsmuseet hasn’t had a single exhibition presenting Israeli or Jewish culture and history. I spoke with two historians who have studied this in detail. One of them said that “ancient Jewish history is almost completely erased from the museum’s portrayal of the ancient Mediterranean region”. The other said that for historical reasons, the museum focuses on Egypt and Cyprus, which is fine, but even when those cultures had strong connections to Jews in the region, those connections are usually not mentioned, and even on the rare occasions that they are the name Israel never is.

And they're right. Medelhavsmuseet has presented many exhibitions about Egypt, Greece, Rome, Syria, Cyprus, Turkey – and even non-Mediterranean countries such as Iraq. In fact, the only recent exhibition that touched on Israel was “Nakba,” which according to the Jewish Central Council was highly one-sided and sparked debate over whether the museum was pursuing a political agenda. The museum responded that “it is not a historical exhibition, but a small audio exhibition with stories”. When representatives from the Jewish Central Council met with the superintendent of Statens museer för världskultur regarding this, their concerns were not taken seriously.

There’s no doubt that the story of the Nakba should be told. It’s an important part of the region’s history. But if this was only a “small audio exhibition with stories”, where is the next audio exhibition with the other stories from the same war – for example, those about Holocaust survivors who were killed in the battle field after being freed from Auschwitz, or those about massacres of Jews that took place during the same time, or the ones about the Jordanians expelling the Jews from Jerusalem’s old town or the Egyptians illegally occupying Gaza?

During the debate with the Jewish Central Council, the museum mentioned one exhibition – Egypt’s Jews (Egyptens judar), perhaps as one with a more “Jewish narrative”. But the truth is that even when the exhibition explains how Egyptian Jews were attacked, harassed, arrested and expelled in the 1950s and 60s, it’s clear that the message is that this is a direct result of Zionism. The exhibition explains how for 3,000 years Jews were “totally integrated in the surrounding society” (helt integrerade i det omgivande samhället) and only when the UN decided to “divide Palestine” and the 1948 war broke out, Egyptians started “anti-Zionists riots” and resisted “foreign influence”. These texts are a wonderful example of verbal acrobatics. There’s no Egyptian antisemitism, no Muslim Brotherhood (the mother movement of Hamas) promoting genocidal racism against Jews, just an unfortunate mixing up (ihopblandning) of “Jews” and “Zionists”. This makes sense since one of the exhibition’s production partners was Magda Haroun, Head of the Jewish Community Council in Egypt and a vocal opponent of Israel who claims that Zionism is a racist movement. Interestingly, the exhibition which mentions the wars between Israel and Egypt, doesn’t discuss Egyptian President Saadat’s historic recognition of Israel and the resulting Israel-Egypt peace agreement. One can only assume that the reason is that if the museum tells its visitors about Egypt recognizing Israel, this may lead to a demand that Medelhavsmuseet does the same.