Hvor tids jødehad

Så salonfähig er antisemitismen at BBC oversætter palæstinensisk jødehad til had mod Israel. Og hvad der ligger bag at direktøren for det Sergei Ustinov, grundlægger og direktør for Museet for jødisk historie i Rusland, er blevet skud i Moskva, hvor der bor 2 mill. muslimer, kan man indtil videre kun gisne om. Douglas Murray skrev i Gatestone Institute

In London, we have had Israeli orchestras, theatre companies and even string quartets howled down by mobs during performances, and Israeli-performed shows cancelled because the venues hosting them just do not want the bother. Last year, the Tricycle Theatre in London refused to proceed with a festival of “Jewish” culture because a tiny proportion of the festival’s funding was coming from the Israeli embassy in London.

The campaign is obviously organized. The same names crop up again and again. Little, if any, rigour is paid to whether the signatories of such letters even do what they say do, or have opinions worthy of any note. Beneath the barely-built veneer of “professionals objecting to something in their own profession,” is just the same tiny number of anti-Israel and anti-Jewish obsessives. A sprinkling of “as a Jew” Jews, like Margolyes, help, of course. But the aim is clear. These people, step by step, want to make every expression of Israeli and Jewish cultural life subject to their idea of how a nation under constant threat of terrorist bombardment should behave. They denounce Israel as a militaristic society and then attempt to outlaw every non-militaristic cultural and artistic expression from that society.

It is the bigotry of our time. And if unchecked, it will lead in the same direction as it historically has done.

City Journal skriver om Tuvia Tenenboms bog Catch The Jew!, en satirisk udhængning af antisemistismen bag den vestlige palæstinenserindstri. Tennembom er tysk jøde, der optræder, som naiv tysk journalist i Gaza, Israel og Vestbredden får han en del sandheder at vide om de vestlige donorer og ngo’ers anti-israelske engagement

In his tour d’horizon of the Palestinian territories, Tenenbom uncovers the fact that there are almost 300 pro-Palestinian foreign NGOs working (that is, agitating) in the West Bank and another hundred in Gaza, most financed by German taxpayers. Moreover, aid to the Palestinians by the European Union and the United Nations is the highest, per capita, in the world. Which might explain why, as Tenenbom keeps noticing all over the West Bank, so many Palestinian officials and activists are driving Mercedes.

(…)

Relying on his unconventional journalistic techniques, Tenenbom elicits a string of unguarded comments from the activists who work so diligently to keep the narrative of Palestinian suffering in the news. He opens a unique window allowing us to see how the victims’ game works in Palestine. For example, the popular Palestinian leader Jibril Rajoub—with the help of willing European collaborators—succeeds in staging a series of morality plays that perpetuate the big lie about his people’s historical innocence and unique suffering. Rajoub lets Tobi the German in on one such full-scale operatic production in the West Bank village of Bi’lin. With compliant Western reporters told where and when to gather, Palestinian youths comes on stage and, on cue, begin stoning Israeli soldiers. The soldiers ignore the “youths,” but the stones get larger and they eventually respond. The self-righteous Western reporters now have their “story” of Israeli violence for the day. Moreover, the event is filmed for a documentary by an Israeli leftist financed by (what else?) a German NGO. Tenenbom knows something about theater, and his satirical account of this staged episode is as priceless as it is depressing.

Tenenbom’s method produces pure satiric gold, as when the wife of an American rabbi who heads a one-man organization called “Rabbis for Human Rights” (financed by a European NGO) can’t contain herself and admits to Tenenbom: “You can’t change him. Being a human rights activist in our time is to be a persona, not a philosophy; it’s a fad, it’s a fashion. A human rights activist does not look for facts or logic; it’s about a certain dress code, ‘cool’ clothing, about language, diction, expressions and certain manners. No facts will persuade him.”

Another highlight of the book is Tenenbom’s visit—arranged by a European NGO—to an inverted Potemkin village of Bedouin encampments in the Negev. In the original historical version of the Potemkin tall tale, the Russian Czar created a few model villages with false facades to convince Western visitors that all was well within the empire. In the twenty-first century version of the tale perfected by anti-Israel NGOs, the technique is to make Palestinian and Bedouin villages look as awful as possible on the outside even when they are relatively well off on the inside. After all, it can never be admitted that the Palestinian people, despite their suffering at the hands of the Jews, constitute the most prosperous Arab community (with the exception of the oil-rich Gulf monarchies) in the Middle East.

To Catch A Jew bliver næppe læst i den arabiske verden heller. Alene fordi arabere hader at læse.

2 Kommentarer »

  1. Det er ikke Jødedommen der er problemet. Det er Zionisme og apartheid-staten Israel.

    Den eneste stat i verden der praler af deres drab på uskyldige palæstinensiske børn.

    Comment by Henrik — August 2, 2015 @ 3:23 pm
  2. Israel praler ikke med drab på nogen som helst Henrik.

    Comment by Drokles — August 3, 2015 @ 2:15 pm

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