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Allgemein Flutgraben Performances Residencies

Articles, films, and books on Palestine and Israel

We decided to collect here links to articles, video documentations and books we read and watched in order to share our efforts to understand the geopolitical situation in Gaza as well as the local politic responses in Germany and Berlin. We are focusing on the critical discourse we find in German media as we would like to amplify underrepresented local perspectives. We hope to work toward open debate and discussion as well as freedom of expression.

The Flutgraben Performances Residencies team

Articles

Interview mit dem Politologen DANIEL MARWECKI: Es ist ein Ersatznationalismus
(TAZ, 25. Mai 2024)

»Angesichts der deutschen Rechtslage müsste man die Waffenlieferungen an Israel an Bedingungen knüpfen, wenn nicht gleich ganz einstellen.«

»Bis 1967 war Westdeutschland Israels wichtigster Verbündeter. Der Sieg im Sechstagekrieg wäre ohne deutsche Hilfe in dieser Form wohl nicht möglich gewesen. Dieser Krieg führte zur Besetzung Ostjerusalems, des Westjordanlands, der Golanhöhen und Gazas. Wie auch immer man das bewertet – die Bundesrepublik spielt in diesem Konflikt eine größere Rolle, als im Allgemeinen angenommen wird.«

»Bis heute ist Deutschland materiell am Konflikt beteiligt. Es nimmt diese Verantwortung aber nur begrenzt wahr.«

»Wenn man einer Seite Waffen gibt und der anderen Brot, hält man den Konflikt eher am Leben. Auch die Bundesrepublik hat es verpasst, die friedensbereiten Kräfte auf beiden Seiten zu fördern. Im Ergebnis haben wir es jetzt mit einem wahrhaft existenziellen Krieg zu tun, in den die Bundesrepublik verstrickt ist.«

»Anders als Nazideutschland ist die Hamas keine Großmacht, sondern eine von vielen bewaffneten Gruppen im Nahen Osten. Aber je mehr Zivilisten sterben, desto größer die Radikalisierung – das weiß man aus den Kriegen in Afghanistan und Irak. In der Betrachtung des Konflikts scheint aber auch ein tiefgreifender Rassismus zu wirken. Palästinensische Leben werden von Teilen der deutschen Öffentlichkeit offensichtlich als weniger wert betrachtet.«

“In view of Germany’s legal position, arms deliveries to Israel should be subject to conditions, if not stopped altogether.”

“Until 1967, West Germany was Israel’s most important ally. The victory in the Six-Day War would probably not have been possible in this form without German aid. This war led to the occupation of East Jerusalem, the West Bank, the Golan Heights and Gaza. Whatever you think about it, Germany played a bigger role in this conflict than is generally assumed.”

“To this day, Germany is materially involved in the conflict. However, it only fulfils this responsibility to a limited extent.”

“Giving weapons to one side and bread to the other tends to keep the conflict alive. The Federal Republic has also failed to support the forces on both sides that are ready for peace. As a result, we are now dealing with a truly existential war in which the Federal Republic is embroiled.”

“Unlike Nazi Germany, Hamas is not a major power, but one of many armed groups in the Middle East. But the more civilians die, the greater the radicalisation – as we know from the wars in Afghanistan and Iraq. There also seems to be a deep-seated racism at work in the conflict. Palestinian lives are obviously regarded as less valuable by parts of the German public.”

AVNER OFRATH: Anatomie der Gewalt. Zum Israel/Palästina-Konflikt.
(Merkur, Mai 2024)

»Die beispiellose Brutalität, die in den frühen Morgenstunden des 7. Oktober 2023 in Israel /Palästina entfesselt wurde und seither nicht abreißt, erfordert ein neues Vokabular und Verständnis der Wurzeln, der Dynamik und der Motive der Gewalt vor Ort, aber auch der globalen Reaktionen darauf. Noch nie in der einhundertjährigen Geschichte dieses zutiefst asymmetrischen Konflikts wurden Zivilisten auf beiden Seiten so explizit, massenhaft und grausam angegriffen; noch nie klafften in westlichen Universitäten, Medien und Kulturbetrieben Bilder, Vorstellungen und Grundannahmen rund um den Konflikt so schnell, so weit, so unüberwindbar auseinander; noch nie stellten die Folgen des Konflikts eine derart unmittelbare Gefahr für den Frieden ganzer Gemeinden in Europa und Nordamerika dar: Weltweit sind vor allem jüdische, aber auch muslimische Menschen, Gemeinden und Einrichtungen einer Welle des Hasses ausgesetzt.«

“The unprecedented brutality that was unleashed in Israel/Palestine in the early hours of 7 October 2023 and has continued ever since requires a new vocabulary and understanding of the roots, dynamics and motives of the violence on the ground, but also of the global responses to it. Never before in the century-long history of this deeply asymmetrical conflict have civilians on both sides been so explicitly, massively and cruelly attacked; never before in Western universities, media and cultural organisations have images, perceptions and assumptions surrounding the conflict diverged so quickly, so widely, so insurmountably; never before have the consequences of the conflict posed such an immediate threat to the peace of entire communities in Europe and North America: Worldwide, Jewish people, in particular, but also Muslim people, communities and institutions are being subjected to a wave of hatred.”

KAI AMBROS: Scharfgestellte Staatsräson. Zum Umgang deutscher Sicherheitsbehörden mit dem Berliner »Palästina-Kongress«
(Verfassungsblog.de, 2.5.2024)

»In der Sache erscheint das Vorgehen der Sicherheitsbehörden gegen den Palästina-Kongress und bestimmte Einzelpersonen als überzogen und unverhältnismäßig. (…) Für ein rechtswidriges, vor allem grundrechtswidriges Vorgehen der Sicherheitsbehörden sprechen auch die behördlichen Maßnahmen gegen (aktive und passive) Teilnehmer der Veranstaltung, die auch im Nachgang – trotz Nachfrage – nicht plausibel erklärt worden sind. Die Begründung der Bescheide zeichnet dabei ein Bild behördlicher Praxis, das die Grundrechtsausübung unter den politischen Vorbehalt deutscher Staatsräson und historischer Verantwortung Deutschlands gegenüber Israel stellt. Aus Sicht der zuständigen Sicherheitsbehörden scheint scharfe Kritik an israelischer Politik islamistischen Antisemitismus darzustellen, der nicht nur die deutsche öffentliche Sicherheit und Ordnung, sondern sogar (sic!) das Gewaltverbot der UN-Satzung verletzt.«

“The actions of the security authorities against the Palestine Congress and certain individuals appear to be excessive and disproportionate. (…) The measures taken by the authorities against (active and passive) participants of the event, which were not plausibly explained afterwards – despite enquiries – also indicate that the security authorities acted unlawfully and, above all, in violation of fundamental rights. The reasons given for the decisions paint a picture of official practice that places the exercise of fundamental rights under the political reservation of German reasons of state and Germany’s historical responsibility towards Israel. From the point of view of the responsible security authorities, harsh criticism of Israeli politics appears to constitute Islamist anti-Semitism, which not only violates German public safety and order, but even (sic!) the prohibition of violence in the UN Charter.”

Interview mit dem Soziologen PETER ULLRICH: „Nationaler Furor“
(TAZ, 2.5.2024)

»Es ist zu fragen, ob BDS oder die maximalistischen Slogans überhaupt etwas für die Pa­läs­ti­nen­se­r*in­ne leisten. Man könnte hinterfragen, ob alles, worauf man beharren kann, auch tatsächlich klug ist und wen man verprellt. Ich finde, man darf das Mittel des Boykotts als Mittel gegen Besatzung propagieren ohne sich gleich Antisemitismusvorwürfe anhören zu müssen. Aber dass das für Jüdinnen und Juden hierzulande auch historische Erinnerungen an den Judenboykott der Nazis weckt, könnte man mit einem Mindestmaß an Empathie nachvollziehen. Genauso ist es mit „From te river to the sea“. Das ist ein hochgradig offener Slogan. Der kann als Forderung nach einem demokratischen Gemeinwesen für alle seine Be­woh­ne­r:in­nen gelesen werden. Oder aber in Hamas-Diktion als jene nach einem rein palästinensisch-islamischen Staat. Ich würde mir mehr Klarheit wünschen.«

»Es ist unglaublich, wie etwa der Palästina-Kongress plattgemacht wurde mit Einreise- und Betätigungsverboten unter hanebüchenen Voraussetzungen, die den Or­ga­ni­sa­to­r:in­nen nicht einmal die Chance gelassen haben, sich „korrekt“ zu verhalten. Da kommt ein staatspolizeiliches Ideal zu tragen, unter dessen Banner Staatsräson durchgedrückt wird, ähnlich wie bei den Police Riots zum G20-Gipfel in Hamburg. Gedeckt von der nachvollziehbaren moralischen Empörung und der Politik werden hier Grundrechte ausgehebelt. Das sind hochautoritäre Tendenzen, die am Ende auch andere Ak­teu­r:in­nen treffen werden.«

“You have to ask whether BDS or the maximalist slogans achieve anything at all for the Palestinians. You could question whether everything you can insist on is actually wise and who you are alienating. I think you can propagate the boycott as a means against occupation without having to listen to accusations of anti-Semitism. But the fact that for Jews in this country it also brings back historical memories of the Nazi boycott of Jews could be understood with a minimum of empathy. It’s the same with „From te river to the sea“. This is a highly open slogan. It can be read as a demand for a democratic community for all its inhabitants. Or, in Hamas diction, as a demand for a purely Palestinian-Islamic state. I would like to see more clarity.”

“It is unbelievable how the Palestine Congress, for example, was flattened with entry and activity bans under outrageous conditions that did not even give the organisers the chance to behave „correctly“. This is where a state police ideal comes into play, under whose banner reasons of state are pushed through, similar to the police riots at the G20 summit in Hamburg. Covered up by understandable moral outrage and politics, fundamental rights are being undermined here. These are highly authoritarian tendencies that will ultimately also affect other actors.”

CHARLOTTE WIEDEMANN: Die Glocke von Gaza
(TAZ, 18.4.2024)

»Was ist geschehen? Deutschland ist auf die abschüssige Bahn eines falsch verstandenen Exzeptionalismus geraten: Indem die Verantwortung für den Holocaust und die daraus folgenden außergewöhnlichen Verpflichtungen verengt wurden auf ein Bekenntnis zur israelischen Staatsverfasstheit und Politik. Und indem wir anderen vorschreiben, wie sie zu Israel zu denken haben, wenn sie deutschen Boden betreten.«

»So ist ein schwüles Gemisch entstanden, eine seltsam auftrumpfende Weltabgewandtheit. Wir laden ein, um auszuladen. Und wir haben das Recht zu beleidigen, denn wir sind als Ex-Böse die einzig wahren Guten.«

“What has happened? Germany has fallen down the slippery slope of a misunderstood exceptionalism: By narrowing its responsibility for the Holocaust and the resulting exceptional obligations to a commitment to Israel’s statehood and policies. And by dictating to others how they should think about Israel when they set foot on German soil.”

“This has resulted in a sultry mixture, a strangely ostentatious detachment from the world. We invite in order to uninvite. And we have the right to insult, because as ex-evil we are the only true good guys.”

DAPHNE PRESTON-KENDAL: German police suppresses Palestine Congress
(Le Monde Diplomatique, 18.4.2024)

“In a country whose self-identity is otherwise strongly predicated on the ‘free and democratic basic order’, how can criticising the suppression of a political conference be such a taboo for the political and journalistic mainstream, while such a diverse grassroots coalition stands behind it? It is as though support for Israel has, in German political culture, come to take a more central place than liberal democracy itself.”

“With the entry ban for Varoufakis, at least, the German government seems to have finally touched a nerve with the broader liberal establishment: public reaction was almost universally critical. But it has already been known for months that a majority of Germans find the Israeli military’s actions excessive, while the government and public institutions continue to crack down on those who express this opinion publicly. It may take a long time to shift the bounds of respectable opinion in Germany, but popular outrage is already here – and the most extreme measures German authorities have taken against this shift may have had the opposite effect to that intended.”

CLAUDIUS PRÖSSER: »Taktik hat dem Recht zu folgen«, Interview mit Michael Plöse, Anwalt und Berater der Veranstalter*innen des »Palästina-Kongresses«
(TAZ, 15.4.2024)

»In der Situation hat die Polizei die Macht: Sie kann auch rechtswidrige Anordnungen treffen, und die müssen befolgt werden, weil sie sofort wirksam sind. Je später sie getroffen werden, desto weniger Möglichkeiten gibt es für den Rechtsschutz. Ich kann nur empfehlen, sich von so etwas nicht abschrecken zu lassen, sondern dafür zu kämpfen, dass Meinungsäußerungen – solange sie nicht strafbar sind – in dieser freiheitlichen demokratischen Grundordnung weiterhin ihren Platz haben. Und ich hoffe, dass die Polizei als Institution durch die Gerichte zumindest nachträglich so zurechtgewiesen wird, dass sie sich bei künftigen Einsätzen daran orientiert und politische Erwartungen unter Hinweis auf die bestehende Rechtsprechung zurückweisen kann. Das erwarte ich auch von ihr: Die Taktik hat dem Recht zu folgen, nicht umgekehrt.«

“In this situation, the police have the power: they can also issue unlawful orders, and these must be obeyed because they are effective immediately. The later they are issued, the fewer options there are for legal protection. I can only recommend not to be deterred by such things, but to fight to ensure that expressions of opinion – as long as they are not punishable by law – continue to have their place in this free democratic order. And I hope that the police as an institution will at least be reprimanded by the courts in such a way that they will be able to orientate themselves in future operations and reject political expectations with reference to existing case law. I expect the same from them: tactics must follow the law, not the other way round.”

STEFAN REINECKE: Rost an der liberalen Demokratie
(TAZ, 14.4.2024)

»Die New York Times hat (…) in der Berliner Kulturszene ein „Klima der Angst und der Schuldzuweisungen“ entdeckt. Berlin sei als geistig offener Ort ernsthaft gefährdet. Das ist mehr als Sorge um Standortpolitik. Diese per Staatsräson abgestützte Verbotspraxis ist auch eine Selbstbeschädigung. Das bundesdeutsche Selbstverständnis, betont liberal und betont weltoffen zu sein, war auch eine Reaktion auf Hybris und Abschottung des NS-Regimes. Gilt das nicht mehr?«

“The New York Times has (…) discovered a „climate of fear and recrimination“ in Berlin’s cultural scene. Berlin is seriously jeopardised as an intellectually open place. This is more than concern about location politics. This practice of prohibition, supported by reasons of state, is also self-harm. Germany’s self-image of being emphatically liberal and cosmopolitan was also a reaction to the hubris and isolationism of the Nazi regime. Does that no longer apply?”

DANIEL BAX: Die halbierte Staatsräson
(TAZ, 14.4.2024)

»Der Schutz jüdischen Lebens gehört in Deutschland zur Staatsräson. Aber gilt dieser Schutz auch für Jüdinnen und Juden, die der israelischen Politik gegenüber kritischer eingestellt sind, als es die Bundesregierung ist? Daran sind Zweifel angebracht. Die Ausladung der Philosophin Nancy Fraeser, der Umgang mit Masha Gessen und Judith Butler und die Auflösung eines „Palästina-Kongresses“, der unter anderem von einer kleinen jüdischen Gruppe organisiert wurde – all das zeigt, was die Sonntagsreden über den Schutz jüdischen Lebens in Deutschland wert sind, wenn es um den Schulterschluss mit Israel und dessen in Teilen rechtsextremer Regierung geht: die andere Seite der Staatsräson.«

“The protection of Jewish life is part of the raison d’être in Germany. But does this protection also apply to Jews who are more critical of Israeli policy than the German government is? Doubts are justified. The disinvitation of philosopher Nancy Fraeser, the treatment of Masha Gessen and Judith Butler and the dissolution of a „Palestine Congress“ organised by a small Jewish group, among others – all this shows what Sunday speeches about the protection of Jewish life in Germany are worth when it comes to closing ranks with Israel and its right-wing extremist government: the other side of the reason of state.”

OFRA RUDNER: Gaza ist in uns, Wir sind in Gaza
(Le Monde Diplomatique, 11.4.2024)

»Israel muss sich der Tatsache stellen, dass Gaza nicht „dort drüben“ ist, sondern „hier“. Gaza ist in uns, und wir sind in Gaza. Es ist das Monstrum, das wir geschaffen haben. Und das uns geschaffen hat. Der lebende Beweis dafür sind die Geiseln, gefangen im Irgendwo zwischen den beiden Welten.«

“Israel must face up to the fact that Gaza is not „over there“, but „here“. Gaza is in us, and we are in Gaza. It is the monster that we created. And that created us. The living proof of this are the hostages, trapped somewhere between the two worlds.”

DANIEL BAX: Ende des Berliner Frühlings
(TAZ, 10.4.2024)

»Schon in den vergangenen Jahren untersagte die Stadt Berlin alle Demonstrationen zum Gedenken an die Nakba, an Flucht und Vertreibung der Palästinenser aus dem heutigen Israel, und die Polizei ging rigoros gegen unangemeldete Versammlungen vor. Nach dem 7. Oktober hat sich die Lage verschärft. Die Polizeigewalt, mit der schon im Oktober viele Demonstrationen aufgelöst wurden, hat viele erschreckt. „Was ich da gesehen habe, war krass – sogar im Vergleich zu Ramallah“, sagt Fadi Abdelnour. „Fast wie im Film“ sei es gewesen, wie sich die Polizei den Weg durch die Menge gebahnt hätte, oder wie mehrere Beamte eine Person mit aller Kraft verprügelt hätten, ganz öffentlich.«

“In previous years, the city of Berlin banned all demonstrations to commemorate the Nakba, the flight and expulsion of Palestinians from what is now Israel, and the police took rigorous action against unannounced gatherings. The situation worsened after 7 October. The police violence with which many demonstrations were broken up in October frightened many. „What I saw there was blatant – even compared to Ramallah,“ says Fadi Abdelnour. „It was almost like a film“, he says, as the police made their way through the crowd, or as several officers beat up a person with all their might, quite publicly.”

DANIEL BAX: Beamte kritisieren Nahost-Politik
(TAZ, 9.4.2024)

»Die Kritik an deutschen Waffenlieferungen an Israel nimmt weiter zu. Eine Gruppe deutscher Beamter hat in einem Schreiben an Bundeskanzler Olaf Scholz und andere hochrangige Minister die Bundesregierung aufgefordert, „Waffenlieferungen an die israelische Regierung mit sofortiger Wirkung einzustellen“. Israel begehe in Gaza „Verbrechen, die in klarem Widerspruch zum Völkerrecht und damit zum Grundgesetz stehen, an das wir als Bundesbeamte und Angestellte des öffentlichen Dienstes gebunden sind“, heißt es in der Erklärung, die auf dem Online-Portal LinkedIn veröffentlicht wurde.«

“Criticism of German arms deliveries to Israel continues to grow. In a letter to Federal Chancellor Olaf Scholz and other high-ranking ministers, a group of German civil servants has called on the German government to „cease arms deliveries to the Israeli government with immediate effect“. Israel is committing „crimes in Gaza that are in clear contradiction to international law and thus to the Basic Law, to which we are bound as federal civil servants and public employees“, says the statement, which was published on the online portal LinkedIn.”

URS LINDNER: Postkolonialismus und Shoah-Forschung. Wege aus der Dichotomie.
(TAZ, 2.4.2024)

»Wenn Antisemitismus ein Verhältnis zwischen Weißen ist, wird es auch unmöglich, islamistischen oder arabischen Antisemitismus in den Blick zu nehmen. Dagegen hat W.E.B. Du Bois, nachdem er die Trümmer des Warschauer Ghettos besichtigt hatte, für ein Verständnis von Rassismus jenseits der „color line“ geworben, das Antisemitismus einschließt. Im (deutschen) Insistieren darauf, dass Antisemitismus kein Rassismus ist, wird regelmäßig eine Dichotomie zwischen „dem“ Antisemitismus und „dem“ Rassismus konstruiert, die weder antisemitischen Dynamiken noch der Heterogenität der verschiedenen Rassismen angemessen ist.

Zudem fehlt ein Argument, warum es innerhalb eines weiten Rassismusbegriffs nicht möglich sein sollte, Spezifika des Antisemitismus wie seinen verschwörungstheoretischen Exzess zu berücksichtigen. Dass Antisemitismus nicht in Rassismus aufgeht, ist trivial. Kein einziger Rassismus geht in seinem Allgemeinbegriff auf.«

“If anti-Semitism is a relationship between whites, it also becomes impossible to focus on Islamist or Arab anti-Semitism. In contrast, W.E.B. Du Bois, after visiting the ruins of the Warsaw ghetto, advocated an understanding of racism beyond the „colour line“ that includes anti-Semitism. The (German) insistence that antisemitism is not racism regularly constructs a dichotomy between „the“ antisemitism and „the“ racism, which is neither appropriate to antisemitic dynamics nor to the heterogeneity of the various racisms.

Furthermore, there is no argument as to why it should not be possible within a broad concept of racism to take into account specific characteristics of anti-Semitism such as its conspiracy-theoretical excess. It is trivial that anti-Semitism does not merge into racism. Not a single racism is absorbed into its general concept.”

Interview mit dem israelischen Historiker Moshe Zimmermann: Einen Ausweg suchen
(TAZ, 4.3.2024)

»Schwenken wir nach Deutschland und die hiesige Betrachtung des Konflikts. Sie kritisieren die deutsche Staatsräson und bezeichnen sie als „hohlen Slogan“. Was erscheint Ihnen so hohl?

Das Fehlen von Inhalten ist das Problem und macht die Benutzung dieser Formel hohl oder zu einer Floskel. Wenn die Leute darunter verstehen, dass wir bedingungslos hinter Israel stehen, was auch immer Israel tut, ist das natürlich falsch. Israel kann eine schlechte Regierung haben und eine falsche Politik machen. Dahinter muss man nicht automatisch stehen.«

“Let’s turn to Germany and the local view of the conflict. You criticise the German Staatsräson and describe it as a „hollow slogan“. What do you find so hollow?

The lack of content is the problem and makes the use of this formula hollow or an empty phrase. If people take it to mean that we are unconditionally behind Israel, whatever Israel does, that is of course wrong. Israel can have a bad government and make the wrong policies. You don’t automatically have to stand behind it.”

»Sie üben in ihrem Buch – für einige sicher überraschend – Kritik an der postkolonialen Lesart des Konflikts. Was sehen Sie als problematisch an?

Der Zionismus entstand nicht als Kolonialbewegung. Er war national motiviert. Ihm zugrunde liegt der Wunsch von Juden, sich als Nation zu definieren. Dieser Wunsch ist legitim. Die Auswanderer nach Palästina waren – wie ich im Buch betone – keine Gesandten eines europäischen Imperiums, sondern sie waren Verfolgte und Vertriebene, die gezwungen waren, Europa zu verlassen. Das ist eine Situation, die man nicht eine typisch kolonialistische nennen kann, und deswegen ist diese pauschale postkoloniale Betrachtung des Zionismus im Nahen Osten oder Israel mindestens undifferenziert und im Endeffekt auch unfair. Der Kampf der zionistischen Bewegung gegen die englische Mandatsmacht war sogar ein Kampf gegen Kolonialismus. Die postkoloniale Leseart der Siedlungsbewegung im Westjordanland seit 1967 halte ich, im Gegensatz, für berechtigt.«

“In your book, you criticise the post-colonial reading of the conflict – which will come as a surprise to some. What do you see as problematic?

Zionism did not emerge as a colonial movement. It was nationally motivated. It was based on the desire of Jews to define themselves as a nation. This desire is legitimate. As I emphasise in the book, the emigrants to Palestine were not emissaries of a European empire, but were persecuted and displaced people who were forced to leave Europe. This is a situation that cannot be described as typically colonialist, which is why this generalised post-colonial view of Zionism in the Middle East or Israel is at the very least undifferentiated and ultimately unfair. The struggle of the Zionist movement against the British Mandate was actually a struggle against colonialism. In contrast, I consider the post-colonial interpretation of the settlement movement in the West Bank since 1967 to be justified.”

AMOS GOLDBERG AND ALON CONFINO: Die andere Seite der Gleichung.
(TAZ, 1.5.2020)

»Deutschland ist in den letzten beiden Generationen ein Modell für Vergangenheitsbewältigung geworden. Wir fragen uns, ob dieser Weg nun in eine Art Sackgasse geraten ist, die ein vorsichtiges Umdenken erfordert. Die derzeitige Situation in Deutschland ist absurd. Jede Kritik an der israelischen Besatzungspolitik gilt als antisemitisch. Ist das wirklich die Lehre, die die Deutschen aus dem Holocaust ziehen? Dass Juden kein Unrecht tun können? Dieser Philosemitismus hat etwas Beunruhigendes.«

“Over the last two generations, Germany has become a model for coming to terms with the past. We ask ourselves whether this path has now reached a kind of dead end that requires a cautious rethink. The current situation in Germany is absurd. Any criticism of the Israeli occupation policy is considered anti-Semitic. Is this really the lesson that Germans are learning from the Holocaust? That Jews can do no wrong? There is something disturbing about this philo-Semitism.”

Films

Eine Geschichte des Antisemitismus
A History of Anti-Semitism

Vierteilige Doku-Reihe über die gesellschaftliche, religiöse und politische Geschichte des Antisemitismus: vom Antijudaismus der Antike bis zum Antizionismus des 21. Jahrhunderts.

A four-part documentary series on the social, religious and political history of anti-Semitism: from ancient anti-Judaism to the anti-Zionism of the 21st century.

5 Broken Cameras

Ermad Burnat drehte diesen dokumentarischen Film fünf Jahre lang in seinem Heimatdorf Bilin. Zur Geburt seines jüngsten Sohnes Gibreel hatte er sich 2005 eine Videokamera gekauft. Zeitgleich beginnt Israel mit dem Bau der Grenzmauer nahe seines Heimatdorfes im Westjordanland.

Der Film wurde 2012 auf dem Sundance Film Festival ausgezeichnet, gewann die Goldene Aprikose auf dem Yerevan International Film Festival 2012 in Armenien für den besten Dokumentarfilm, wurde 2013 mit dem International Emmy Award ausgezeichnet und war 2013 für einen Academy Award nominiert.

Ermad Burnat shot this documentary movie for five years in his home village of Bilin. He bought a video camera for the birth of his youngest son Gibreel in 2005. At the same time, Israel began building the border wall near his home village in the West Bank.

The film won a 2012 Sundance Film Festival award, it won the Golden Apricot at the 2012 Yerevan International Film Festival, Armenia, for Best Documentary Film, won the 2013 International Emmy Award, and was nominated for a 2013 Academy Award.

Hamas: Die Erschaffung eines Monsters (Arte-Dokumentation)

Edward Said: The Shadow of the West

The Settlers

Books

Rashid Khalili, Der 100-jährige Krieg um Palästina
Rashid Khalili, The Hundred Years‘ War on Palestine

Rashid Khalidi, Nachfolger Edward Saids an der Columbia University und einer der führenden Historiker des Nahen Ostens, stützt sich auf eine Fülle von unerschlossenem Archivmaterial. Er zeichnet die Geschichte eines hundertjährigen Kolonialkriegs gegen die Palästinenser nach und legt den Finger auch auf die Fehler der palästinensischen Führung.

Rashid Khalidi, Edward Said’s successor at Columbia University and one of the leading historians of the Middle East, draws on a wealth of untapped archive material. He traces the history of a hundred-year colonial war against the Palestinians and also puts his finger on the mistakes of the Palestinian leadership.

The German translation was published on 2nd May 2024.

Micha Brumlik, Postkolonialer Antisemitismus?
(only in German)

»Micha Brumlik, ausgewiesener Autor zu jüdischen Themen, mischt sich in die nicht enden wollende Debatte ein, die durch die Zuspitzung der Auseinandersetzungen in Israel/Palästina im Mai 2021 und deren Nachhall hierzulande neue Brisanz gewonnen hat. Er greift die Anlässe der Diskussionen um die aktuelle Ausbreitung von Antisemitismus auf, stellt die Facetten der Streitpunkte um den »Postkolonialen Antisemitismus« dar und analysiert die historischen Hintergründe.

Micha Brumlik wurde 1947 als Kind deutscher jüdischer Eltern in der Schweiz geboren und lebt seit 1952 in Deutschland. Er studierte Philosophie und Pädagogik in Jerusalem und Frankfurt a.M. Von 2000 bis 2013 war er Professor für Theorien der Bildung und Erziehung und von 2000 bis 2005 Direktor des Fritz Bauer Instituts – Studien- und Dokumentationszentrum zur Geschichte des Holocaust in Frankfurt a.M. Er ist seit 2013 »Senior Advisor« am Selma Stern Zentrum für jüdische Studien Berlin/Brandenburg, publiziert u.a. zur Geschichte des Judentums und zeitgenössischen jüdischen Themen und ist Mitherausgeber der »Blätter für deutsche und internationale Politik«.«

“Micha Brumlik, a recognised author on Jewish issues, intervenes in the never-ending debate, which has taken on new explosive force due to the escalation of the conflicts in Israel/Palestine in May 2021 and their reverberations here in Germany. He takes up the causes of the discussions about the current spread of anti-Semitism, presents the facets of the issues surrounding „post-colonial anti-Semitism“ and analyses the historical background.

Micha Brumlik was born in Switzerland in 1947 to German Jewish parents and has lived in Germany since 1952. He studied philosophy and education in Jerusalem and Frankfurt a.M. From 2000 to 2013 he was Professor of Theories of Education and from 2000 to 2005 Director of the Fritz Bauer Institute – Study and Documentation Centre for the History of the Holocaust in Frankfurt a.M. Since 2013 he has been Senior Advisor at the Selma Stern Centre for Jewish Studies Berlin/Brandenburg, publishes on the history of Judaism and contemporary Jewish issues and is co-editor of „Blätter für deutsche und internationale Politik«.”

Michael Rothberg, Multidirectional Memory: Remembering the Holocaust in the Age of Decolonization

“Multidirectional Memory brings together Holocaust studies and postcolonial studies for the first time. Employing a comparative and interdisciplinary approach, the book makes a twofold argument about Holocaust memory in a global age by situating it in the unexpected context of decolonization. On the one hand, it demonstrates how the Holocaust has enabled the articulation of other histories of victimization at the same time that it has been declared „unique“ among human-perpetrated horrors. On the other, it uncovers the more surprising and seldom acknowledged fact that public memory of the Holocaust emerged in part thanks to postwar events that seem at first to have little to do with it. In particular, Multidirectional Memory highlights how ongoing processes of decolonization and movements for civil rights in the Caribbean, Africa, Europe, the United States, and elsewhere unexpectedly galvanized memory of the Holocaust. Rothberg engages with both well-known and non-canonical intellectuals, writers, and filmmakers, including Hannah Arendt, Aimé Césaire, Charlotte Delbo, W.E.B. Du Bois, Marguerite Duras, Michael Haneke, Jean Rouch, and William Gardner Smith.

Michael Rothberg is Professor of English and Director of the Unit for Criticism and Interpretive Theory at the University of Illinois at Urbana-Champaign. He is the author of Traumatic Realism: The Demands of Holocaust Representation (2000).”

The Holocaust and the Nakba. A New Grammar of Trauma and History, Edited by Bashir Bashir and Amos Goldberg

“This book does not seek to draw a parallel or comparison between the Holocaust and Nakba or to merely inaugurate a “dialogue” between them. Instead, it searches for a new historical and political grammar for relating and narrating their complicated intersections. The book features prominent international contributors, including a foreword by Lebanese novelist Elias Khoury on the centrality of the Holocaust and Nakba in the essential struggle of humanity against racism, and an afterword by literary scholar Jacqueline Rose on the challenges and contributions of the linkage between the Holocaust and Nakba for power to shift and a world of justice and equality to be created between the two peoples. The Holocaust and the Nakba is the first extended and collective scholarly treatment in English of these two constitutive traumas together.

Bashir Bashir is Associate Professor in the Department of Sociology, Political Science, and Communication at the Open University of Israel and a senior research fellow at the Van Leer Jerusalem Institute. He is coeditor of The Politics of Reconciliation in Multicultural Societies (2008).

Amos Goldberg is Associate Professor and Chair of the Department of Jewish History and Contemporary Jewry at the Hebrew University of Jerusalem. His books include Trauma in First Person: Diary Writing During the Holocaust (2017).”

»In diesem Buch geht es nicht darum, eine Parallele oder einen Vergleich zwischen dem Holocaust und der Nakba zu ziehen oder lediglich einen „Dialog“ zwischen ihnen zu eröffnen. Vielmehr sucht es nach einer neuen historischen und politischen Grammatik, um ihre komplizierten Überschneidungen in Beziehung zu setzen und zu erzählen. Das Buch enthält prominente internationale Beiträge, darunter ein Vorwort des libanesischen Schriftstellers Elias Khoury über die zentrale Bedeutung von Holocaust und Nakba im Kampf der Menschheit gegen den Rassismus und ein Nachwort der Literaturwissenschaftlerin Jacqueline Rose über die Herausforderungen und den Beitrag, den die Verbindung von Holocaust und Nakba für die Verschiebung der Machtverhältnisse und die Schaffung einer Welt der Gerechtigkeit und Gleichheit zwischen den beiden Völkern leistet. The Holocaust and the Nakba ist die erste umfassende und kollektive wissenschaftliche Behandlung dieser beiden konstitutiven Traumata in englischer Sprache.

Bashir Bashir ist außerordentlicher Professor im Fachbereich Soziologie, Politikwissenschaft und Kommunikation an der Open University of Israel und Senior Research Fellow am Van Leer Jerusalem Institute. Er ist Mitherausgeber von The Politics of Reconciliation in Multicultural Societies (2008).

Amos Goldberg ist außerordentlicher Professor und Vorsitzender der Abteilung für jüdische Geschichte und zeitgenössisches Judentum an der Hebräischen Universität Jerusalem. Zu seinen Büchern gehören Trauma in First Person: Diary Writing During the Holocaust (2017).«

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Flutgraben Performances Residencies

Flutgraben Performances Residencies: Residency #2 in March 2024

We are happy to announce Mei Long Bao as our next resident artist in 2024.

Mei Long Bao (they/them) is a Danish-Chinese activist, performer, dance artist, musician and producer based in Berlin. They have worked as a drummer/vocalist in the band Felines with several European tours and album releases; and as a performer/drummer/vocalist in the activist art group GP&PLS. Their work is deeply rooted in the in-betweens, both as interdisciplinarity and neverending translation between artistic expressions, but likewise as the situatedness of identity, as non-binary, Chinese-Danish (colonised-coloniser), working class-academic, and amateuristic punk perfectionist monk. Mei’s current artistic practice entails performing in works by other choreographers, teaching traditional Chinese movement practices, making soundscapes for dance pieces and working on their own artistic work based on the Chinese straight sword.

In their time during the residency at Flutgraben Mei is working on ‚dull blade, keep sharpening‘: ‘dull blade, keep sharpening’ (working title) is a practice-performance centered around the straight sword in Chinese martial arts. A work in progress/digress, it inquires into the in-between of sword and practitioner. “I use the sword as a prosthesis, modifying my body, detachable and pointing at something I lack. I use the sword as a tool, to focus or think. The sword can be a symbol, of power or phallos, of violence or equilibrium. I practice the sword as a discipline, a work of becoming, a form that transforms. I view the sword as an object of metal and wood, erect, hard and malleable.”

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Flutgraben Performances Residencies

Flutgraben Performances Residencies: Residency in March 2024

We are happy to announce Corey Scott Gilbert as our next resident artist in 2024.

Reflecting further on the idea of “trembling thinking” in the context of diaspora, I extended an invitation to Corey Scott Gilbert to join the Flutgraben Performance Residencies. For many years I’ve known Corey as a performer and only recently as an emerging choreographer. I perceive his creative process as exploring the oscillations and frequencies present in the room, while being attuned to his extraordinary technical training.  I’m excited to exchange our experiences as performers, how we work with “the gaze” and how “vibrations” appear in each of our processes.

Laurie Young, Flutgraben Performances Residencies artist 2023, on her choice for Corey Scott Gilbert

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Flutgraben Performances Residencies

Flutgraben Performances Residencies: Residency in February 2024

We are happy to announce Cintia Rangel as our resident artist in 2024.

Cintia Rangel, born in Rio de Janeiro, is an artist who transcends borders through dance. With an academic education in art history, Cintia found in dance not only a form of expression, but a true lifestyle. In her own words she rejects the idea of a »professional dancer« Cintia and »a dancer outside of dance«, because for her, dance, like art, permeates all aspects of her existence. Cintia spins a unique narrative through her movements. She strives to build a bridge between past and present, using contemporary tools to explore new forms of expression and communication through dance. Her dedication to dance goes beyond the stage and extends to everyday life, where she sees every movement as an artistic expression of her own lifestyle. For Cintia, dance is more than just a profession, it is a form of intrinsic communication, a language that transcends words and becomes an integral part of her identity. By choosing dance as her mode of expression, Cintia not only inspires her audience, but also questions the dichotomy between professional and personal life. Her passionate dedication to dance and art as an authentic and integrated lifestyle sets her apart as a unique artist who transforms every step into a continuous and captivating narrative.

We wish Cintia a great and inspiring time during her residency!

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Flutgraben Performances Residencies

jee chan: Open Studio, 5 August 2023

laut jerebu (the sea where land is out of sight)

This sharing takes the shape of a conversation between jee chan, Jelena Golubović and Bilawa Ade Respati. Drawing upon our respective lived experiences across Southeast Asia and Southeast Europe, we discuss issues surrounding language, mapping, nationhood and diaspora in relation to the construction of identity. The conversation will be interspersed with moments of song from the Central Javanese gamelan tradition—the context in which the three of us met, as well as a point of reference as we flow through the afternoon. This event marks the end of jee chan’s research residency hosted at Flutgraben Performances (July/August 2023).

The event is free of charge, and requires registration. There is a capacity of 30 guests. Please send an email to flutgrabenperformances@gmail.com to confirm your attendance on a first come, first served basis.

5 August 2023
14 – 16h
Public in Private studio, Flutgraben e.V. Am Flutgraben 3
12435 Berlin

Pip Studio is located at the 1st floor of Flutgraben e.V. building.
The building isn’t accessible to wheelchairs.

jee chan is an artist and choreographer whose practice often examines the potential of the displaced body, driven by their research concerning ancestral epistemologies and oral histories. As a leitmotif in their work, the sea has evoked themes of migration, memory, grief and transformation to address deep historical violence, particularly through the lens of island Southeast Asia. www.zuntukyun.com

jelena golubović’s interests, creative pursuits and scholarly endeavours stretch over music, the visual arts and conceptual art: interplays between language, societies, and visual thinking—communication of the unspeakable through the absence of verbal expression—transregional and border thinking.

Bilawa Ade Respati is a musician based in Berlin, performing on and writing for the Javanese Gamelan and the guitar. His current artistic interest is in the dialectic between tradition and innovation, where he experiments with the amalgam of algorithmic music composition and the idiom of gamelan music. https://sastraswara.site/

Special thanks to Ana Bibiscus, Toni Flügel, stefan pente, Thow Xin Wei, Lindhu Raras, and the team of Flutgraben Performance Residencies—Tiphaine Carrère Loquet, Clément Layes, Moritz Majce and Sandra Man. The residency program is funded by the Berlin Senate Department for Culture and Europe. The event is kindly supported by the Rumah Budaya Indonesia (House of Indonesian Cultures), a project of the Embassy of the Republic of Indonesia in Berlin

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Flutgraben Performances Residencies

Flutgraben Performances Residencies: Residency in August 2023

We are happy to announce Emil Ertl as our next resident artist in 2023.

Emil Ertl is a dancer and choreographer based in Berlin. For their time at Flutgraben Performances Residencies, they will collaborate with performance artist Onur Agbaba. Serpentine serpentine never a straight line serpentine serpentine serpentine never a straight line serpentine. Along the lines of Peaches’ song Serpentine, Ertl and Agbaba investigate the notion of creases, wrinkles and folds.
The German word for straightening is »glätten«. Straightened things appear to function, to be correct, to be clean. Wrinkled or crumpled stuff on the other hand commonly is thought of as messy, wild or inappropriate. In this research, Ertl and Agbaba wish to dissect this dichotomy and examine the potential of the act of crumpling. If the act of straightening stands for heteronormativity, can the act of crumpling be a queer act of resistance? How can we use choreography as a tool to research the act of straightening things out?

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Flutgraben Performances Residencies

Flutgraben Performances Residencies: Residency in July/August 2023

We are happy to announce jee chan as our next resident artist in July/August 2023.

jee is an artist and choreographer whose works are characterised by investigations into memory, displacement and grief, and often question the potential of the displaced body. Their current dance practice is driven by their research concerning ancestral epistemologies and oral histories. As a leitmotif in jee’s work, the sea has evoked themes of conquest, migration, transformation and healing to address deep historical violence, particularly through the lens of island Southeast Asia. jee will use the residency to develop choreographic scores for a new work, based upon experimental breath techniques which emerge from the relationship between the breath and the cyclical movement of the ocean’s tides. They are interested in situating this practice in dialogue with collaborators who hold immigrant histories, both in one-to-one and collective formats.

We wish jee a wonderful and inspiring time during their residency!

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Flutgraben Performances Residencies

Flutgraben Performances Residencies: Residency in May/June 2023

We are happy to announce Laurie Young as our next resident artist in May/June 2023 (from Open Call #3 – 2023 // please check our ongoing Open Call #4 till 2nd June).

Laurie is a Berlin-based dance artist who focuses on the embodiment of unauthorised histories and their representation and how relationships are choreographed between human and non human in the theater, museum and city. She will base the residency on a choreographic and therapeutic search around trembling, navigating between Trauma Release Exercises (TRE) and the concept of trembling thinking of Édouard Glissant. She will research haptic sounds as vibratory practice by creating installation structures. She also wants to bridge relationships with organisations aiming to create a safer space of empowerment. During her residency she will offer TRE sessions and engage in experimental collaborations with an interdisciplinary focus on trembling.

We wish Laurie a vibrant and inspiring time during her residency!

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Flutgraben Performances Residencies

Flutgraben Performances Residencies | Open Call #4 | 2023

Flutgraben Performances Residencies 2023

Open Call #4 “the space between two bodies of water”1

This call is created in thought of those who live in the in-between space. It is for those who dwell in liminalities – in the crack between the worlds, as the queer-feminist writer Gloria E. Anzaldua used to write2. Those who are constantly moving back and forth, who are always in transition. This call is for performers and dancers who have developed practices, forms or ways to negotiate and explore this state of living at the intersections between different identities and worlds. And who are going in their work and practice beyond simplistic notions of exclusionary boundaries and binaries.

We are happy to announce the fourth open call of our artist-in-residence program Flutgraben Performances Residencies. FPR is open to Berlin-based choreographers and artists from the fields of choreography, performance and contemporary dance.

Who we are

Flutgraben Performances Residencies is an independent project. It started in 2020 and is currently run by artists Clément Layes, Moritz Majce, and Sandra Man together with producer and administrator Tiphaine Carrère-Loquet. With Flutgraben Performances Residencies we are extending and complementing our vision of an artist-run initiative for experiments and exchange. Flutgraben Performances Residencies is funded by the Berlin Senate Department for Culture and Europe.

About Flutgraben Performances Residencies

Since the beginning of the project we were interested in challenging and finding new ways of selecting and inviting artists to our residency program. This year there will be four residencies, three of which will be chosen by former resident artists and one by a member of the FPR team. Each of these jurying artists was invited to find their own procedure of choosing one next resident artist and is presenting their choice in a common meeting with the FPR team.

As we are also interested in more sustainable forms of care and collaboration, e. g. in redefining the relation of juror and artist, we asked our jurors to accompany their chosen artists during the residency period.

Who we address with this call

This call for residency is proposed by Ana Bisbicus, architect, researcher and performer and also former residency participant in FPR 2022. In their ongoing research “Tracing Nepantla” they work with the writings of Gloria E. Anzaldua and her depictions of the in-between space and the concept Nepantla. “Nepantla” is an indigenous Nahuatl word and means “to stand in the middle“. Their work seeks to identify the tangible and visible manifestations of Nepantla by mapping those spaces and places from their own body and life experience as a queer migrant of color living in Berlin.

The applicant should have a background in dance/performance/choreography and be based in Berlin.

We would like to encourage and support the resident artist to open up their residency and sharing their practice with guests, previous FPR resident artists, and the FPR team.

Duration and period of the residency

In this call we offer a residency from 10 July to 07 August 2023 (four weeks studio time) and 1 week of post-production time.

Fees

No application fees.

What we offer

A grant of €2.500 is offered for the residency.

The residency includes 4 weeks access to a 80m2 studio in Flutgraben artists house (Kreuzberg-Treptow) plus basic technical support. There is WiFi in the studio and use of a common kitchen.

Application deadline

2nd June 2023

Application

Application language can be English/German/Spanish.

What to send

Please send a short text (around 250 words max.) in which you describe your practice and what you would like to do in the frame of your FPR residency. Please be specific on what you want to do artistically in response to the theme of the call. We are interested in getting a feeling of your artistic approach of working.

• Some information about your artistic work (e.g. website, video and textual documentations – please check your links and passwords.) and CV

to this email address: residency@flutgrabenperformances.org

If you have questions please use this email address for contacting us.

Please be aware that this call is only for Berlin-based artists.

Information about the venue

With the Flutgraben Performances Residencies project we are one species among others, adding to the diversity of the Flutgraben artists house biotope. The Flutgraben artists house is administered by Flutgraben e.V. More information about the building can be found here: www.flutgraben.org

Accessibility

We are limited in inviting people with physical disabilities as the building is not yet equipped for mobility handicaps. The studio for this residency is located on the first floor of the building and is only accessible via a staircase. An elevator is under construction but will not be ready for the time of the residency.


1 Anzaldúa, Gloria. Borderlands / La Frontera: The New Mestiza. Aunt Lute Books 1987, p. 43.

2 Anzaldúa, Gloria: Light in the Dark/Luz en lo Oscuro: Rewriting Identity, Spirituality, Reality (Latin America Otherwise: Languages, Empires, Nations), Illustrated, Durham and London, England: Duke University Press, 2015, p. 71.

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Flutgraben Performances Residencies

Flutgraben Performances Residencies: Residency in April 2023

We are happy to announce Mica as our next resident artist in 2023.

Mica is a Berlin-based artist from Brazil dealing with Hip Hop dance, fashion and street culture from the perspective of being a Black woman. As Hip Hop culture is predominantly male, Mica perceives an absence of Black women also in the Berlin scene. The artist realises the urgency of creating a space of exchange to map, value and encourage other Black women to know and take possession of Hip Hop culture, through studies focused on the history of Hip Hop itself, including its specific Latin-American manifestation. During her residency Mica is going to celebrate a space of exchange allowing different experiences for various female Black artists in the city with dance meetings, open practices, workshops for children and theoretical meetings. By bringing together women of different ages, a magical and valuable exchange of knowledge, experiences and stories can take place. The older generation will pass on their experiences and the legacy of Hip Hop, while the younger generation bring their own creative energy and perspectives. This dialogue will allow to appreciate not only the development of Hip Hop over time, but also the experience of being a Black female artist in Berlin and around the world, with all the plurality and uniqueness of each life.

We wish Mica a great time full of exchange during her residency!