Last week, British Tamils protested outside the Harley Lounge in London during a performance by Sri Lankan singer Yohani. Demonstrators raised concerns over her connections to war criminals involved in the genocide of Tamil civilians, particularly referencing her father, Major General Prasanna De Silva. The protest highlighted the venue’s decision to host her despite the public outcry regarding her support for individuals accused of serious human rights violations.

The protest was organised by the Tamil youth group Phoenix TNG, with member Theevan asserting the need for action against perceived injustices. “We as Eelam Tamils have a civic duty… Boycotts were simply not enough,” he stated. Following concerns during the event promotion, the venue disabled comments on posts to silence criticism, prompting the protest.

Protesters called for accountability for war crimes, chanting slogans and holding placards. Observers noted a significant presence of Metropolitan Police and staff from the Sri Lankan High Commission at the event. Many Tamil activists showed solidarity, gathering to oppose what they deemed a disgraceful performance.

Yohani has faced backlash for praising Sri Lankan military leaders linked to the deaths of thousands of Tamil civilians. Her father, implicated in severe human rights abuses, commanded a division during the conflict’s final stages. Reports indicate that there were documented atrocities under his command, including the shelling of hospitals.

Further controversy surrounds Yohani’s musical tributes to her father, whom she labels a “hero” in her songs, wearing military attire in a music video. Additionally, she has met military figures associated with war crimes and performed for Gotabaya Rajapaksa, a former defence secretary accused of overseeing such atrocities.

The protests against Yohani’s London show reflect deep frustrations within the Tamil community regarding her ties to war criminals. Activists demand justice and accountability for past atrocities, emphasising the responsibility to challenge injustices. The actions of the venue and organisers only heightened tensions, resulting in a strong public response. This situation exemplifies the ongoing struggle for recognition and justice among the Tamil people.

Original Source: www.tamilguardian.com

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British Jews expressed concern after a Holocaust exhibit was rejected by the UK Parliament, with allegations of political bias. The Speaker of the Commons has launched an inquiry into this decision. Recently showcased under the title ‘Vicious Circle,’ the display detailed pogroms impacting Jewish communities across five locations, including Berlin and Iraq.

Experts like Maiken Umbach expressed disappointment over the Westminster Hall rejection but found hope in the public support following media reports. Lord Eric Pickles also weighed in, asserting that if alternate political displays were permitted, then a Holocaust exhibit should be, especially given the recent remembrances of the Holocaust’s 80th anniversary.

Concerns about the portrayal of Jews during Holocaust Memorial Day (HMD) have arisen as the word ‘Jews’ was notably absent from various media reports. A broadcast on Good Morning Britain later apologised for neglecting to specify that the six million victims were predominantly Jewish.

Dov Forman criticised public figures, including Deputy Prime Minister Angela Rayner, for failing to mention Jews in their HMD communications. He noted the alarming norm of omitting Jewish suffering from Holocaust discussions and referenced a troubling statistic about the lack of awareness of Holocaust sites among young adults in Britain.

In response to rising antisemitism, Prime Minister Keir Starmer discussed expanding Holocaust education in schools. Meanwhile, a letter from the Islamic Human Rights Commission challenged the focus on Holocaust remembrance, suggesting that Gaza’s situation should also be classified as genocide, provoking further division in the dialogue around Holocaust education.

Recent polling shows a dismal outlook for Jewish residents in the UK: only 43% feel welcomed, with 92% believing that media bias against Israel contributes to antisemitism. This growing concern reflects a wider cultural sentiment toward Jewish identity and acknowledgment within British society.

The article highlights significant concerns expressed by the British Jewish community regarding the treatment and recognition of Holocaust narratives in public discourse and memorial events. The rejection of a Holocaust exhibit in Parliament, alongside the omission of ‘Jews’ from significant commemorative communications, illustrates a worrying trend of negationism and marginalisation of Jewish experiences. This context sets the stage for intense debate about antisemitism and the portrayal of Jews in contemporary British society, particularly following recent spikes in hatred and violence against Jews linked to global events.

The rejection of the Holocaust exhibit by the UK Parliament highlights deep concerns within the Jewish community about representation and acknowledgment of Jewish suffering. The media’s failure to present the specific targeting of Jews during the Holocaust compounds these concerns, reflecting wider issues of antisemitism. Increased educational efforts and public discussions, along with a critical examination of how these narratives are conveyed, are essential to address these challenges and foster a more inclusive understanding of the Holocaust in the UK.

Original Source: allisrael.com

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An unfinished artwork by Israeli hostage Shlomo Mansour, named ‘Butterfly Glasses,’ is part of a Holocaust Memorial Day exhibit in London. The exhibition, ‘Vicious Circle,’ highlights the persistent issue of antisemitism across five significant historical locations: Berlin (1938), Baghdad (1941), Kielce (1946), Aden (1947), and Israeli kibbutzim (2023). It presents thriving Jewish communities before they faced violence, showcasing their decline today, notably in Aden, where only one Jewish person remains.

The display features powerful photographs and artefacts, including a tzedakah box and a Hanukkah menorah. Maiken Umbach, the Chief Academic and Innovation Advisor at the National Holocaust Centre, emphasises the importance of remembering the beliefs that fuelled antisemitism, stating that this issue is not a relic of the past. Details of Mansour, who turned 86 during his captivity, reveal his background and significant contributions to his community, reflecting a life dedicated to peace despite recent turmoil in Kissufim.

The exhibit recounts the attack on Kibbutz Kissufim by Hamas, where 28 were killed, linking this modern tragedy to historical pogroms. Lyn Julius, a prominent advocate, notes that this is the first exhibit to highlight antisemitic violence against Jews in the Middle East, challenging misconceptions about Jewish identities. Paul Waugh MP’s remarks in Parliament reaffirm that genocides stem from longstanding hate, urging society to address this reservoir of animosity.

The National Holocaust Centre, distinct as a Christian-founded institution, has made a commitment to this vital educational work. Following its London debut, the exhibition ‘Vicious Circle’ will travel to cities including Berlin and Brussels, spreading awareness of the ongoing risks of antisemitism and the importance of coexistence.

Shlomo Mansour’s artwork and the ‘Vicious Circle’ exhibit serve as a poignant reminder of the enduring consequences of antisemitism, which has manifested throughout history and continues today. The exhibition contextualises this through the stories of Jewish communities worldwide, highlighting their resilience and the devastation wrought by violence. By connecting past and present incidents of antisemitism, the exhibit invites reflection on social attitudes and collective responsibility.

The display brings urgent attention to the ongoing issues of antisemitism, linking historical violence with contemporary realities faced by Jewish communities. The personal narrative of Shlomo Mansour exemplifies the resilience of Jewish identity amidst adversity. The exhibition’s educational outreach highlights the need for dialogue and action to combat hate, underscoring the significance of remembrance and community engagement in fostering a more inclusive future.

Original Source: allisrael.com

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On January 15, London hosted its inaugural Gaza Biennale at the ICA, bringing together the works of over 60 Palestinian artists. The event coincided with the private launch of New Contemporaries, an exhibition sponsored by Bloomberg Philanthropies, which faces criticism for its links to illegal settlements in Palestine. The Biennale served as both an art show and a protest against the ICA’s affiliations and the overall complicity of cultural organisations in Palestinian oppression.
A substantial crowd gathered outside the ICA, where protestors displayed banners urging attendees to ‘Join us!’ in solidarity with the Gaza Biennale. Despite the confrontational atmosphere, the protestors maintained a non-hostile attitude, inviting curious attendees to learn about their cause, which resulted in some people crossing over to join the protest.
Many attendees expressed hesitance, with one anonymous artist voicing internal conflict about entering the exhibition. This sentiment reflected a broader struggle among artists and visitors to reconcile the significance of supporting Palestinian issues while also appreciating cultural institutions such as the ICA.
As the protest unfolded, a group of artists from the New Contemporaries exhibition stepped outside to express solidarity with the Gaza Biennale and echo calls for the ICA to sever ties with sponsors like Bloomberg. Of the 35 exhibiting artists, 28 signed a statement backing the protest, indicating a significant coalition in favour of these demands.
Fi Isidore and Roo Dhissou, both participating artists, shared their motivations for showing support, underscoring the need for cultural organisations to consider their backing sources. Dhissou, in particular, noted her increasing vocality on Palestine issues after witnessing censorship faced by supporters in the art world prior, emphasising the importance of the Biennale in fostering solidarity amidst widespread repression.
While the ICA acknowledged the protest, a spokesperson dismissed it as misguided due to misconceptions about their funding. They reaffirmed that while Bloomberg continues to sponsor events at the ICA, the funding practices align with the broader arts funding landscape in the UK, which relies heavily on such partnerships to operate effectively.
Following the artist walk-out, the Gaza Biennale exhibition commenced, showcasing innovative works that reflect the resilience of Palestinian artists. Despite challenging circumstances, their creations poignantly convey themes of loss, oppression, and survival, eliciting a powerful reaction from the audience and underscoring the necessity of cultural expression in times of adversity.

The Gaza Biennale aimed to spotlight Palestinian artists and protest against UK cultural institutions’ complicity in the oppression of their people. By calling for the ICA to sever ties with Bloomberg Philanthropies and advocating for the Boycott, Divestment and Sanctions movement, the Biennale represents a larger movement within the art world aimed at raising awareness and support for Palestine. Artists have faced increasing censorship and pressure, prompting many to openly challenge institutional ties that contradict their advocacy for justice.

The Gaza Biennale marked a significant moment of solidarity and protest against cultural complicity in the oppression of Palestinians. Through bold artistic expression and collective action, participating artists and activists highlighted the importance of cultural resistance amidst ongoing challenges. This event not only showcased Palestinian creativity but also called for a reassessment of institutional relations, emphasising the transformative power of art in the fight for justice.

Original Source: www.dazeddigital.com

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More than 20 artists participating in London’s Institute of Contemporary Arts (ICA) New Contemporaries exhibition walked out on 14 January in support of pro-Palestine demonstrators. The ICA described the protest as misguided and based on misinformation, highlighting calls for it to sever ties with Bloomberg Philanthropies, which sponsors the exhibition.
The protest was led by the UK Jinnaah of the Gaza Biennale and supported by the Palestinian Youth Movement. Demonstrators allege Bloomberg Philanthropies aids initiatives in Israel that facilitate settlement infrastructure in the West Bank, a claim the philanthropy did not comment on.
Among the protesting artists were Roo Dhissou and Fi Isidore, who expressed solidarity with the Gaza Biennale. Dhissou noted that New Contemporaries thrived for decades without Bloomberg’s funding, urging the ICA to reject this sponsorship.
The ICA clarified that it has not received funding from Bloomberg Philanthropies since 2020, asserting that the request to sever ties was difficult to fulfill. It maintains that it promotes dialogue and debate, despite calling the protest misguided due to misinformation.
A New Contemporaries spokesperson acknowledged accepting undisclosed funding from Bloomberg for the exhibition, showing support for artists’ rights to protest. Protesters also raised issues regarding former ICA staff redundancies related to solidarity actions with Palestine, a claim ICA management denied.
During the demonstration, images of Gaza Biennale artists were displayed on the ICA’s walls, showcasing the resilience and ongoing work of over 60 Palestinian artists despite wartime challenges. The New Contemporaries exhibition features 35 artists selected through an open call, aimed at supporting emerging talents in the arts.

The protest at the ICA reflects ongoing tensions surrounding the Israeli-Palestinian conflict, particularly in how arts institutions engage with funding sources perceived to support Israeli policies. This action indicates a broader movement among artists to advocate for Palestinian rights and re-evaluate sponsorships that may contradict their values, illustrating the complexity of funding in contemporary art.

The recent walkout by artists at the ICA underscores the contentious debate over funding sources and their implications in the context of the Israeli-Palestinian conflict. While the ICA maintains its commitment to dialogue, the protest highlights a growing demand among artists for ethical funding and support, reflecting larger societal issues within the art community.

Original Source: www.theartnewspaper.com

The post Artists Walk Out at ICA to Support Pro-Palestine Protesters first appeared on The London Bell.

The exhibition ‘Safety Curtain’ at London’s Auto Italia by Alex Margo Arden reflects on the intersection of art and activism. It showcases notable incidents where art institutions became sites of protest, featuring paintings that depict moments of disruption, such as soup thrown at Van Gogh’s ‘Sunflowers’. Arden explores the public’s complex reactions to protests, noting the symbolic damage inflicted despite the actual artworks often going unharmed. She advocates for a dialogue around art conservation and the pressing climate crisis, suggesting that disruptions may be integral to the future of culture.

The article discusses the rise of art pieces becoming protest sites, particularly in the wake of recent climate activism. It examines how art institutions have been utilised as platforms for political statements, provoking discussions about cultural preservation and environmental urgency. The exhibition serves to reflect on the duality of conservation efforts in light of necessary activism against climate change, pushing audiences to engage with complex issues.

Alex Margo Arden’s ‘Safety Curtain’ prompts critical conversations on the role of art in activism. The exhibition captures the tension between preserving art and recognising its role in highlighting urgent social issues like climate change. By portraying disruptions, Arden invites viewers to reconsider their perspectives on art, protest, and the future of cultural preservation.

Original Source: www.wallpaper.com

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A new international exhibition, The Vicious Circle, will open on January 21, 2025, in Soho, London, to mark Holocaust Memorial Day. Co-developed by historians from the University of Nottingham and the UK’s National Holocaust Museum, it features five storytelling video structures and confronts the misconceptions surrounding antisemitism by examining historical violence against Jews and its implications today. The exhibition will continue its tour to Tallinn, Berlin, and the European Parliament in Brussels following its London showing.

This exhibition uniquely explores the dangerous notion that violence against Jewish communities can lead to liberation. By inviting visitors to engage with the immersive installation, it draws parallels between historical acts of violence, notably the pogroms, and how these events resonate with contemporary ideologies. An explosive moment in the exhibition, where all video displays implode, serves to highlight the historical significance and the catastrophic consequences of such ideologies, underling that anti-Jewish racism has persisted beyond the Holocaust.

Alongside video materials, five artefacts exemplifying cross-cultural interactions among Jewish, Christian, and Muslim communities will be displayed, prompting reflection on the broader societal implications of historical events. The exhibition encourages visitors to consider the ideologies behind these actions and to reflect critically on how society can break the cycle of violence and prejudice.

Marc Cave, Director of the National Holocaust Museum, emphasised the importance of confronting these ideologies, noting how conspiratorial thinking still exists and can incite violence, reiterating that the UK’s Holocaust Memorial Day 2025 theme is “For a Better Future.” The exhibition calls for dialogues that go beyond mere empathy, demanding an understanding of both victims and perpetrators.

This exhibition is dedicated to Holocaust education and challenges the misconceptions about antisemitism that persist today. By analysing historical events and their aftermath, it aims to foster critical thinking among visitors regarding the recurring themes of violence against Jews throughout history. As the world commemorates Holocaust Memorial Day, it is crucial to reflect on how ideological delusions continue to influence contemporary anti-Jewish sentiments and interactions.

The Vicious Circle exhibition serves as a critical platform addressing the deep historical roots and ongoing antisemitism faced by Jewish communities. By encouraging reflection on the actions of perpetrators as well as the consequences for victims, it aims to educate visitors about the cyclical nature of hatred and violence. As society grapples with challenging ideologies, fostering understanding and breaking these cycles is vital for a more tolerant future.

Original Source: www.miragenews.com

The post New Exhibition ‘The Vicious Circle’ on Antisemitism Opens in London first appeared on The London Bell.

The Royal College of Art (RCA) faces accusations of enabling a hostile environment for Jewish and Israeli students following an incident where an Israeli flag was removed and discarded while Palestinian flags remained on display. Students have reported feeling silenced and threatened when voicing their concerns. Jonathan Turner from UK Lawyers for Israel has highlighted the distress caused by biased lectures and the discrimination faced by these students. RCA claims commitment to zero tolerance for discrimination and harassment while fostering freedom of expression. The college has been urged to address these issues by UKLFI, which cited specific troubling incidents regarding treatment of students.

The Royal College of Art has been mired in controversy over alleged intimidation faced by Jewish and Israeli students in a politically charged atmosphere. Recent events include the removal of an Israeli flag, spurring claims of anti-Semitism. With the ongoing Israeli-Palestinian conflict influencing campus dynamics, this situation highlights the delicate balance between fostering free speech and ensuring that all students feel safe and respected regardless of their background.

The accusations against the RCA raise significant concerns about the treatment of Jewish and Israeli students in an increasingly hostile academic environment. With calls for better protection and support, the RCA has been prompted to clarify its stance against discrimination while promoting freedom of expression. It remains to be seen how effectively the institution will address these urgent issues.

Original Source: www.jpost.com

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Steve McQueen’s upcoming exhibition, “Resistance,” will unveil a photographic narrative documenting a century of protests in Britain, from the suffragettes to Iraq war demonstrations. Opening at Turner Contemporary in Margate on 22 February 2025, it seeks to highlight how photography has catalysed change in the UK, as stated by the gallery’s director. Clarrie Wallis emphasised the exhibition’s aim to bring forgotten histories into public consciousness, illustrating the nation’s evolving socio-political landscape.

The exhibition spans significant events starting from the suffragettes in 1903 to the mass protests against the Iraq war in 2003, featuring over a hundred years of grassroots activism. Curated by McQueen after four years of research, it includes pivotal moments like the Battle of Cable Street and the Battle of Lewisham, with Wallis noting its role in fostering understanding of shared histories.

Additionally, “Resistance” presents a variety of photographs documenting campaigns for nuclear disarmament, environmental protests, and safety initiatives by Hull trawler wives. Notable photographers contributing to the exhibition include Vanley Burke and Fay Godwin, along with an accompanying book featuring essays by prominent writers. McQueen’s work continues to explore marginalised narratives, and this exhibition aims to shine a light on lesser-known stories of resistance and activism.

The exhibition by Steve McQueen, known for his Oscar-winning films and innovative storytelling, represents a significant cultural contribution by providing an alternative historical perspective on protest in Britain. Focusing on how visual documentation can influence change, “Resistance” encapsulates both well-documented events and lesser-known occurrences that shaped Britain’s historical and social discourse. With a commitment to uncovering marginalised narratives, the exhibition reflects McQueen’s ongoing mission to amplify underrepresented voices in art and society.

“Resistance” promises to be a landmark exhibition that not only showcases powerful photography but also encourages reflection on Britain’s socio-political journey through collective resistance. By highlighting significant protests and campaigns, Steve McQueen seeks to broaden the understanding of history and the impact of activism over the past century, making it an anticipated cultural event in 2025.

Original Source: www.theguardian.com

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Liam Conlon has been chosen as the candidate for the new Beckenham and Penge constituency located in south-east London. Phineas Harper, chief executive of Open City, advocates for the transformation of exclusive golf courses into housing developments. He argues that this approach could effectively address the ongoing housing crisis in the UK while also challenging the elitist image of the sport. Meanwhile, in the political sphere, Mayor Andy Burnham claims that a government document suggests the Covid tier 3 restrictions imposed on Manchester were a form of punishment. This tier system was introduced in October 2020 to manage the spread of the virus across England. In other news, PC Jonathan Broadhead faces allegations of using excessive force toward a girl with garden shears, highlighting concerns over police conduct. A recent police notification indicates that the Beckenham MP intends to take action against an activist who received derogatory comments about their nationality.

The article discusses various political and social issues in London, including housing concerns, police conduct, and the rise of antisemitism. The call for housing development on golf courses highlights a creative solution to the housing shortage in the UK, while the mention of Covid restrictions reflects the ongoing struggles faced by different regions. The protest against antisemitism underscores the growing concerns about hate crimes, and the implications of police actions point to broader issues within law enforcement.

The article encapsulates key topics such as housing crisis solutions, political accountability, police conduct, and social justice, reflecting the dynamic challenges London currently faces. Transforming golf courses into housing could offer a dual benefit of providing homes and diminishing elitist barriers, while also revealing critical discussions about governance and social responsibilities in the city.

Original Source: www.theguardian.com

The post Housing Solutions and Social Issues in London first appeared on The London Bell.