Why German state racism is now directed at the Palestinians

A demonstrator displays a placard reading: “Palestinian Lives Matter” during a pro-Palestinian protest in Berlin on 19 May 2021 (AFP)

The Holocaust serves, paradoxically, as an alibi for Europeans to assume they are morally superior to others, as the cancellation of an arts prize to Caryl Churchill shows

There are troubling insights to be gained into modern European racism from the German arts community’s decision to revoke a lifetime achievement award to the respected British playwright Caryl Churchill over her trenchant support for the Palestinians.

On 31 October, Churchill was stripped of the European Drama Prize she had been given in April in recognition of her life’s work. The decision was backed by Petra Olschowski, the arts minister of the state of Baden-Wurttemberg, who said: “We as a country take a clear and non-negotiable stance against any form of antisemitism. This is all the more reason why a prize funded by the state cannot be awarded under the given circumstances.”

The jury – comprising eminent figures in German cultural life – said they had had their attention drawn, since making the award, to two problems. First, Churchill had backed BDS, a Palestinian grassroots movement calling for a boycott of Israeli institutions directly involved in Israel’s decades-long oppression of the Palestinians.

Criticism of Israel is not criticism of Jews. And those who claim it is are playing with fire

Back in 2019, an overwhelming majority of the German parliament designated support for BDS as “antisemitic”.

And second, the panel had been reminded of a short play called Seven Jewish Children, written 13 years ago in the immediate aftermath of Israel’s savage and extended bombardment of Gaza’s besieged Palestinian population in the winter of 2008-09. In a statement, the German jury said the play could “be regarded as being antisemitic”.

In Churchill’s now largely forgotten play, Jewish parents articulate their trauma generation by generation.

Palestinians are not present. They are shadows. They are the referred pain of a wound from Europe. Instead, the play contextualises the suffering in Gaza through a series of monologues as each generation of Jewish parents struggles to decide what they should tell their children and what realities they should hide – be it about the horrors of Europe, the crimes involved in the creation of Israel, or the bombardment of Gaza.

The play hints at uncomfortable truths: that the oppressed can turn into oppressor; that traumas do not necessarily heal or enlighten; and that their effects can be complex and paradoxical.

More …