Robert Glasper / Source : Ilmanifesto.it
A.I. assisted report
Robert Glasper past concerts in Israel : BLACKWASHING?
Musician Robert Glasper has performed in Israel on at least two occasions, an action that has sparked controversy within the context of the cultural boycott movement. The documented performances are:
December 2016 at the Tel Aviv Opera House: Glasper performed with his band, the Robert Glasper Experiment (1, 3).
November 2023 at the Red Sea Jazz Festival: He was on the lineup for the festival's 37th edition in Eilat (2).
These concerts are at the heart of an international debate centered on the Boycott, Disinvestment, and Sanctions (BDS) movement. This Palestinian-led movement argues that the participation of international artists in Israel's cultural scene contributes to the normalisation of its policies. Critics believe that these concerts help project an image of normalcy and cultural vibrancy, a concept often referred to as "art-washing" or "cultural diplomacy." In doing so, they argue that these events divert attention from the ongoing occupation of Palestinian territories and human rights violations, which organizations like Amnesty International have likened to a system of apartheid (4).
There is a notable contrast between Glasper's performances and the stance of one of his former bandmates. Samora Pinderhughes, a composer and activist who performed with Glasper in the group August Greene, has taken a different approach. Pinderhughes co-founded an initiative to support Palestinians and believes that artists have a responsibility to use their platform to create social change, linking the Black Lives Matter movement in the US to other global freedom struggles (27). This highlights a divide even among artists who have worked together on a political issue.
Robert Glasper and the Black Lives Matter Movement
Robert Glasper has a documented history of political and social activism, particularly in his support for the Black Lives Matter (BLM) movement. His activism has been a consistent theme in his work, which often uses his platform to address social justice issues.
"I'm Dying of Thirst": On his 2015 album Covered, Glasper included a cover of Kendrick Lamar's "I'm Dying of Thirst." The song features his six-year-old son and his friends reciting the names of African Americans who were victims of police violence, including Trayvon Martin. Glasper stated that he felt compelled to use his art to "reflect what's going on" and to inspire change, particularly as a father (34).
"A Letter to the Free": In 2017, Glasper won an Emmy Award for Outstanding Original Music and Lyrics for his song "A Letter to the Free," which was featured in Ava DuVernay's documentary 13th. The film examines the history of racial inequality and the U.S. criminal justice system, and the song serves as a powerful statement on the theme of freedom (35).
Black Radio Broadcast: In June 2020, following the death of George Floyd, Glasper released a special "Protest Mix" episode of his "Black Radio Broadcast" series. In a statement accompanying the mix, he expressed his anger and heartbreak, stating, "I stand with you. No justice, no peace. Black Lives Matter" (36).
Black Power Live: He participated in a 2020 livestream event called "Black Power Live," which was hosted by Black Lives Matter co-founder Patrisse Cullors. The event featured music and conversation to support and raise funds for the movement, with proceeds going to organizations such as the Transgender Law Center and the Crenshaw Dairy Mart (37).
Lauryn Hill: A Different Approach to the Cultural Boycott
The case of Lauryn Hill provides a contrasting example to Robert Glasper's continued performances in Israel. The two artists have a contentious professional history: in 2018, Glasper publicly accused Hill of stealing music for her landmark album, "The Miseducation of Lauryn Hill," and of mistreating her band members. He claimed that the album's songs were written by others, a group of musicians known as New Ark who had previously sued Hill and settled out of court. Hill responded to these allegations in a lengthy public statement, defending her creative process and professional conduct (28, 29, 32).
However, in 2015, Hill canceled a concert in Israel following a public campaign by the BDS movement. In a statement, she said that her intention to perform in both Tel Aviv and Ramallah "proved to be a challenge." She explained that she did not want her presence to be "misconstrued" or a "source of alienation to either my Israeli or my Palestinian fans." The BDS movement praised her decision as a victory for the cultural boycott, while some critics accused her of caving to pressure. This event shows a different path taken by an artist under similar pressure from the BDS movement, one that resulted in a cancellation rather than a performance (30, 31).
The Royal Opera House and the BDS Movement
The controversy surrounding cultural institutions and performances in Israel has also been a subject of international debate. A notable example involves the Royal Ballet and Opera (RBO) in London, which canceled a planned 2026 production of Tosca at the Israeli National Opera in Tel Aviv. This decision came after an open letter from 182 staff members criticized the organization's collaboration with an Israeli institution during the conflict in Gaza (11, 19).
The letter, signed by dancers, singers, musicians, and other staff, argued that the collaboration was a "deliberate alignment... with a government currently engaged in crimes against humanity" (11). The protest was prompted, in part, by the Israeli National Opera's practice of offering free tickets to soldiers from the Israel Defense Forces (IDF) and the RBO's silence on the conflict. This event was hailed as a "breakthrough" and a "victory" for the BDS movement, demonstrating the impact of grassroots activism within cultural institutions (19).
This case provides a contrasting example to Robert Glasper's performance. While Glasper's concert went ahead, the Royal Opera House's cancellation highlights how pressure from artists and staff can lead to institutional decisions in support of the cultural boycott.
The Tel Aviv Performing Arts Center
The Tel Aviv Performing Arts Center, which is the permanent home of the Israeli Opera, was opened in 1994 (1, 3, 20). The land on which it was built was designated for public buildings in the late 1950s, following the Arab-Israeli War of 1948 (20, 21). This war, referred to by Israelis as the War of Independence and by Palestinians as the Nakba or "catastrophe," resulted in the displacement of hundreds of thousands of Palestinians and the establishment of the State of Israel (21, 22, 23). The city of Tel Aviv-Yafo, where the center is located, was formed in 1950 by merging the newer city of Tel Aviv with the ancient city of Jaffa. While the available sources do not state that the specific plot of land where the opera house was built was stolen, the construction took place on land that became part of the merged city in the aftermath of a war that resulted in a significant shift in land control and the displacement of the Arab population (21, 22, 23, 24, 25).
The direction team for the Israeli Opera includes Executive Director Tali Barash Gottlieb, who succeeded Zach Granit (3.1, 3.2, 41), and Music Director Dan Ettinger (3.1, 3.2).
Extending Influence to New York: The 'Theodor' Opera
The Israeli Opera has extended its influence to new audiences through its production of "Theodor: The Unknown Story of Herzl," a work about the founder of Zionism. The opera had its U.S. film premiere in New York at the Temple Emanuel Cultural Center and is also scheduled to be screened at the Kennedy Center in Washington, D.C. as part of the U.S.-Israel Opera Initiative (42, 43). This event, presented by the Israeli Opera in cooperation with Washington National Opera, is framed as a way to share the story of Theodor Herzl during "these challenging times," suggesting the opera's use as a form of cultural diplomacy (42, 43).
The subject of the opera, Theodor Herzl, is a central figure in this debate. According to one perspective, his legacy of Zionism is the "cause and culprit" of the Israeli-Palestinian conflict. This view holds that Jewish paramilitary organizations were instrumental in establishing the state of Israel through what are described as "terrorist activities," including the "Nakba," and that the conflict did not exist before the establishment of Zionism in 1897. This perspective argues that the opera, by focusing on Herzl, serves as an instrument of Zionism, particularly when it is showcased in international venues like the Kennedy Center (44).
The Weaponization of the Red Sea Jazz Festival
The BDS movement and the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI) have highlighted the Red Sea Jazz Festival as a tool of cultural diplomacy and "art-washing" (5, 8, 9, 10, 11). PACBI has called for a boycott of the festival, drawing a parallel to the boycotts of events in apartheid South Africa. A letter from Israeli citizens echoes this sentiment, arguing that the festival is not separate from the government and its policies of military occupation (9). The boycott movement also cited the internment of hundreds of African migrants in Eilat as a further reason for their protest, noting that these migrants are scapegoated and face political rhetoric similar to that directed at Palestinians (10).
The campaign argues that the festival, with its sponsorship by the Eilat municipality, the Ministry of Culture and Sport, and the Ministry of Tourism, is used to "whitewash the crimes of Israeli apartheid" (5, 8). This policy of using culture to divert attention from human rights violations was openly confirmed by the Israeli government through its global 'Brand Israel' campaign. A spokesperson for the Israeli Foreign Ministry reportedly stated that this cultural initiative is a matter of national security, intended to improve Israel's international image (8). The letter from Israeli citizens specifically refers to this as "Hasbara," a form of public relations used by the government to counter negative perceptions of its policies (9). A similar cultural boycott was urged in 2019 by Israeli artists against the Eurovision Song Contest, which was held at a venue in Tel Aviv built on the ruins of a forcibly displaced Palestinian village (26).
The Red Sea Jazz Festival is currently led by Niva Amali-Maoz and Yossi Fine (4.1, 4.2).
Historical Context: The City of the Festival
The city of Eilat, where the festival is held, was historically known to Palestinians as Umm al-Rashrash. The modern city was established on the site of a former frontier outpost after it was captured by Israeli forces in 1949 as part of the Arab-Israeli War (6, 7). The festival's location, therefore, is cited by critics as a specific example of cultural events being used to legitimize control over a contested historical site.
The Racial Dimension of the Controversy
The critique centered on Glasper being a Black artist is a crucial aspect of this debate. BDS supporters and other activists have drawn parallels between the situation in Israel and the apartheid system in South Africa. The history of the African American civil rights movement and the strong tradition of political activism among Black artists who showed solidarity with anti-apartheid movements give a moral weight to the critique.
Glasper's presence in Israel, a country that has faced accusations of racism—notably the government's admission of administering contraceptives to Ethiopian Jewish women without their informed consent—is perceived by critics as particularly problematic. From this perspective, a Black artist's participation in the Israeli cultural scene can be interpreted as an indirect validation or a sidestepping of these issues, even if that is not the artist's intention.
David Sheen's Reporting on Racism and Kahanism
Journalist and filmmaker David Sheen, a Canadian-Israeli who has been recognized as a Human Rights Defender, has extensively reported on racism and religious extremism within Israeli society (12, 13). His work focuses on racial tensions against Palestinians and African refugees, exposing issues that he argues are often ignored by mainstream media (12). The existence of a "carnival of violence" and eliminationist rhetoric from Israeli mobs, particularly during events like Jerusalem Day marches, has been cited as a factor that normalizes and contributes to state-sanctioned violence against Palestinians, which critics argue is exemplified by the situation in Gaza (33).
Sheen has also written at length about the enduring influence of Kahanism, the ideology of the late Rabbi Meir Kahane. According to Sheen, this movement, which he describes as "the most racist and most murderous Jewish political movement of modern times," has infiltrated mainstream Israeli politics and made hateful rhetoric against Palestinians increasingly visible and acceptable (14, 15).
The Erasure of Palestinian Culture and the Role of Art as Resistance
The ongoing conflict has been described as a "war on culture" by Palestinian officials, with numerous sources documenting a systematic destruction of Palestinian cultural heritage in Gaza (1.4, 2.1, 2.2). This targeting of cultural sites is considered a key component of what some sources, including a UN rapporteur, describe as a broader effort of "colonial erasure" and "cultural genocide" (1.1, 1.4, 1.7, 2.3).
Destruction of Cultural Heritage
Since October 7, 2023, a significant number of cultural and historical sites in Gaza have been damaged or destroyed (2.1). Reports from organizations like Al-Haq and Heritage for Peace, as well as damage assessments by UNESCO, have documented the impact on hundreds of sites, including:
Archaeological and Historic Buildings: Over 100 archaeological sites and 256 historical buildings have been destroyed, including the ancient port of Anthedon, the Pasha Palace Museum, and a newly discovered Roman cemetery (2.1, 2.2, 2.6). UNESCO has verified damage to 110 sites, with assessments showing the destruction of monuments, archaeological sites, and historic buildings (2.5).
Religious Sites: The destruction includes the Great Omari Mosque, the oldest mosque in Gaza, and the Church of Saint Porphyrius, the oldest church. The Gaza Ministry of Endowments reported that 79% of mosques in the Gaza Strip have been destroyed (2.1, 2.3).
Cultural Institutions and Archives: Cultural centers, such as the Rashad Al-Shawwa Cultural Center, and museums like the Al-Qarara Cultural Museum and the Rafah Museum have been destroyed (2.1, 2.3). This destruction has led to the loss of invaluable resources for studying Palestinian history, including rare manuscripts and artifacts (1.4, 2.3).
This deliberate targeting of cultural heritage is considered a war crime under international law, including the 1954 Hague Convention for the Protection of Cultural Property and the Geneva Conventions (1.2, 2.1, 2.2, 2.4).
Art as Survival and Protest
In response to this widespread destruction, Palestinian artists in Gaza are using their art as a form of protest and a means of survival. Lacking traditional art supplies, they are turning to unconventional canvases like humanitarian aid materials, such as UNRWA flour bags and aid boxes (1.2, 3.1).
Documenting the Conflict: Artists such as Hussein al-Jerjawi and Ibrahim Mahna create powerful paintings that document their experiences of displacement and the daily struggles of life in Gaza. For them, each painting is a "document" and an act of defiance against efforts to erase their identity and history (3.1).
Reclaiming Identity: This practice of using art as resistance, known as SumΕ«d or steadfastness, has a long history in Palestine, with artists using their work to reaffirm their political existence since the 1967 occupation (3.2, 3.6). By continuing to create, artists are preserving Palestinian memory, identity, and hope in the face of immense trauma (3.1, 3.2).
Statements from UN Experts and Humanitarian Toll
United Nations Special Rapporteurs on the human rights situation in the Palestinian territories have made significant statements regarding Israel's actions. Francesca Albanese, the current rapporteur, concluded in a March 2024 report that there are "reasonable grounds to believe" that Israel has committed acts of genocide in Gaza (16). She contextualizes this violence within a "settler-colonial" and "apartheid regime" that has sought to displace Palestinians for decades, a process she refers to as "colonial erasure" (17). Her predecessor, Michael Lynk, along with other UN rapporteurs, has also stated that Israel's policies constitute an apartheid regime (17).
The humanitarian toll since the attacks of October 7, 2023, has been substantial. According to figures from the Gaza Ministry of Health and reported by humanitarian organizations such as the UN Office for the Coordination of Humanitarian Affairs (OCHA), the number of casualties is as follows:
In Gaza, over 61,000 Palestinians have been killed, and more than 150,000 have been injured.
In the West Bank, over 900 Palestinians have been killed.
In Israel, 1,139 people were killed in the initial attacks (18).
In conclusion, Robert Glasper's concerts in Israel are viewed by critics from the BDS movement as acts of normalization. These performances, especially within the context of his identity as a Black artist and the accusations of racism against Israel, have a significant impact on the debate and raise questions about the role of artists in complex geopolitical conflicts.
Let's hope other artists will do better
Kids! Just say no to zionism!
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