Tag Archives: yitzhak rabin

The Exclusive Revolution: Israeli Social Justice and the Separation Principle

The following piece was co-authored by Joseph Dana. A shorter version recently appeared at Alternet.

The men and women who set out to build a Jewish state in historic Palestine made little secret of their settler-colonial designs. Zionism’s intellectual author, Theodor Herzl, described the country he envisioned as “part of a wall of defense for Europe in Asia, an outpost of civilization against barbarism.” “All the means we need, we ourselves must create them, like Robinson Crusoe on his island,” Herzl told an interviewer in 1898. The Labor Zionist movement’s chief ideologue, Berl Katznelson, was more blunt than Herzl, declaring in 1928, “The Zionist enterprise is an enterprise of conquest.” More recently, and perhaps most crudely, former Prime Minister and current Defense Minister Ehud Barak described the goal of Zionism as maintaining “a villa in the jungle.”

Those who dedicated themselves to the formation of the Jewish State may have formulated their national identity through an idealized vision of European enlightenedness, but they also recognized that their lofty aims would not be realized without brute force. As Katznelson said, “It is not by chance that I speak of settlement in military terms.” Thus the Zionist socialists gradually embraced the ideas of radical right-wing ideologue Vladimir Jabotinsky, who outlined a practical strategy in his 1922 essay, “The Iron Wall,” for fulfilling their utopian ambitions. “Zionist colonization, even the most restricted, must either be terminated or carried out in defiance of the will of the native population,” Jabotinsky wrote. “This colonization can, therefore, continue and develop only under the protection of a force independent of the local population — an iron wall which the native population cannot break through. This is, in toto, our policy towards the Arabs.” According to Jabotinsky, residents of the Zionist yishuv (community) could not hope to enjoy a European standard of life in the heart of the Arab world without physically separating themselves from the natives. This would require tireless planning, immense sacrifice and no shortage of bloodshed. And all who comprised the Zionist movement, whether left, right, or center, would carry the plan towards fulfillment. As Jabotinsky wrote, “All of us, without exception, are constantly demanding that this power strictly fulfill its obligations. In this sense, there are no meaningful differences between our ‘militarists’ and our ‘vegetarians.’”

One of the greatest misperceptions of Israeli politics is that the right-wing politicians who claim Jabotinsky’s writings as their lodestar perpetuate the most egregious violence against the Palestinians. While brimming with anti-Arab resentment, the Israeli right’s real legacy consists mostly of producing durable strategies and demagogic rhetoric. The Labor Zionists who dominated Israel’s political scene for decades bear the real responsibility for turning the right’s ideas into actionable policies. The dynamic is best illuminated by the way in which successive Labor Party governments implemented the precepts outlined in Jabotinsky’s “Iron Wall” under the cover of negotiations with the Palestinians. As early as 1988, the Laborites Yitzhak Rabin and Haim Ramon were advocating for the construction of a concrete wall to separate the Palestinians from “Israel proper.” When Rabin declared his intention to negotiate a two-state solution with the PLO, his supporters adopted a slogan that had previously belonged to the right-wing Moledet Party: “Them over there; us over here.” Then, when Rabin placed his signature on the Oslo Accords in 1993, Israel began surrounding the Gaza Strip with electrified fencing while revoking Palestinian work permits by the thousands.

Continue reading

Watching Miral: An unflinching but flawed look at Israel’s occupation

I saw Julian Schnabel’s film “Miral” a few months ago at a private screening but did not write about it at the time. The film had been billed to me as a “game changer” that would finally present a sympathetic portrayal of the Palestinian struggle, but I was not very excited or impressed by what I saw. Considering how jaded I have become about potential “game changers” (why hasn’t the game changed yet?) and how many films I have seen about and by Palestinians, I might not be the best person to evaluate the film as a vehicle for educating the American public. After spending nearly two months reflecting on the Miral, I concluded that despite its many flaws, it represents a valuable and timely contribution.

Miral’s plot focuses on Hind Husseini, daughter of Palestinian aristocracy and founder of the Dar El-Tifel orphanage, which originally housed the children of the victims of the Deir Yassin massacre. Thus Schnabel depicts the Nakba, a first in a major American film, however, he does it with minimal context and explanation. Why did Israel evict 750,000 Palestinian Arabs from their homes and their land? The answer explains the roots of the conflict, yet the history remains unknown to most in the West.

Next, viewers are introduced to Miral, whose mother was so traumatized by the events of 1948 and by the sexual abuse visited on her by her father that she committed suicide. Miral’s character, played in mediocre fashion by Frieda Pinto, who could not seem to drop her Hindi accent (her performance reminded me of Kevin Costner’s Midwestern-accented Robin Hood), is based on Rula Jebreal, the author of the novel “Miral.” As the wife of Schnabel, Jebreal apparently convinced him to turn her book into a film. As in the movie, Rula was sent by her widowed father to live and study at Dar El-Tifel. There she was schooled along with dozens of girls (including the writer Susan Abulhawa) to be the cream of Palestinian society, and to educate the left-behinds in the refugee camps.

Having moved through the Nakba and the occupation of Jerusalem in 1967 — and there viewers see a rare acknowledgment of Palestinian terrorism as a tactic employed in the grand tradition of anti-colonial resistance — the film culminates with the War of the Stones, known in the West as the First Intifada. “Intifada means stand up straight,” Miral tells one of her classmates as riots spread from Gaza to the West Bank. I thought this line was a touch corny, but then again, when has a mass Western audience seen the Intifada depicted as anything other than a Jew-hating terror fest?

It is during this section that Schabel shows his strengths. Though he tends to sacrifice narrative depth for powerful imagery (“Basquiat” felt like a two hour long music video), Schnabel’s fixation on aesthetics resulted in Miral’s most subversive scenes. As Miral becomes increasingly involved with PLO activists, she is immediately swept up by thrasher of the Israeli occupation. Schnabel unflinchingly depicts her torture at the hands of a Amazon-like female Shabak agent, something that has happened to hundreds if not thousands of young Palestinian women in Israeli prisons. And he recreates scenes of Israeli home demolition that were so true to life I had flashbacks to Al-Arakib, where I watched Israeli bulldozers level an entire village while a phalanx of soldiers forced its Bedouin residents away from their crumbling homes.

The brief but vivid depictions of common Israelis prompted flashbacks of daily life in Israel, from the pinched lipped Jewish redneck on the Jerusalem city bus who blurts out racial slurs at the nearest available Arab; to the smug Israeli general who corrects Miral when she identifies herself as Palestinian, informing her that she is in fact an “Israeli Arab;” to the free spirited Tel Avivian youths who are more than happy to party with an attractive Palestinian girl like Miral — and who pat themselves on the back for doing so — but would do nothing to help her struggle for their liberation. During the time I spent inside Israel, I met all of these characters again and again.

Unfortunately, for all of Miral’s strengths, the film completely collapses in its final minutes as viewers are introduced to the Oslo Accords. Schnabel presents the US-brokered effort as a sincere attempt at peace and not the Trojan Horse for permanent occupation that Israel’s subsequent actions exposed it to be. It is disappointing that Schnabel chose to portray the peace process as some sort of panacea, with Yitzhak Rabin appearing on screen before cheering throngs to declare that “we are making peace,” when it has only enabled Israel to deepen its occupation and create more facts on the ground with the stamp of Western approval. Anyone who has taken a cursory glance at the Palestine Papers would have a hard time disputing that the peace process is a sham. I know American moviegoers yearn for moral clarity and golden sunsets, but Schnabel should have avoided propagandizing in favor of a discredited political process — or any “solution,” for that matter. The stories he and Jebreal presented of Palestinian women living under occupation and apartheid were powerful enough to stand on their own.