Eretz Israel is our unforgettable historic homeland...The Jews who will it shall achieve their State...And whatever we attempt there for our own benefit will redound mightily and beneficially to the good of all mankind. (Theodor Herzl, DerJudenstaat, 1896)

We offer peace and amity to all the neighbouring states and their peoples, and invite them to cooperate with the independent Jewish nation for the common good of all. The State of Israel is ready to contribute its full share to the peaceful progress and development of the Middle East.
(From Proclamation of the State of Israel, 5 Iyar 5708; 14 May 1948)

With a liberal democratic political system operating under the rule of law, a flourishing market economy producing technological innovation to the benefit of the wider world, and a population as educated and cultured as anywhere in Europe or North America, Israel is a normal Western country with a right to be treated as such in the community of nations.... For the global jihad, Israel may be the first objective. But it will not be the last. (Friends of Israel Initiative)

Monday 5 November 2012

"Your Tickets Are Covered In Palestinian Blood!": Protesting Batsheva in Manchester (video)

Here are more Israel-bashing lefties and their allies libelling Israel outside Manchester's Lowry Theatre on Friday, 2nd November.  This squalid mean-spirited demonstration against the Batsheva Dance Company was called by Manchester Palestine Solidarity Campaign, and supported by the Greater Manchester Stop the War Coalition.

Read the spin in Britain's Communist rag here


  1. It appears they’re also against ratings and comments for their YT vids!
    They called the Batsheva performance “poorly attended”, that a would more accurately describe the turn out for their “two minutes of hate”.

    Batsheva received rave reviews in Scotland

    Re-enactment of WWI Battle of Beersheba

    A nice round up of old films.
    A Collection of the Earliest Films from the Holy Land

    1. Ian - Kelvin Crombie will be in Sydeny in a few weeks time. I am interviewing him and attending his meeting at Parliament House. I will write it up for J-Wire.

      He has what he calls "THE MONTGOMERY BIBLE"
      and is here for Sydney launch of his new book "El Alamein and Jewish Survival"

      "Kelvin has recently given this presentation in the British House of Lords in London. The Montgomery Bible was an official gift given by the National Council of Palestine Jewry - Jewish Govt' in Israel before May 1948, to Field Marshal Viscount Montgomery.

      It was an official gift of gratitude for his role in saving the Jewish community in Palestine (now Israel) from the impending conquest by the German-led forces commanded by General Rommel. The Allies' victory at El Alamein marked a major turning point in the Western Desert Campaign of World War II.

      The Bible itself is the Tenach (Old Testament), encased on the cover by silver and mother of pearl. Kelvin will have the Bible with him, together with other historic documents concerning this crucial battle.

      The words on the inscription attached to the Bible are: "Field Marshal Viscount Montgomery, GCB, DSO, the gallant leader of the victorious forces by whose hand God has placed salvation in Zion in the days of El Alamein, presented in token of the everlasting gratitude of Palestine Jewry by the Vaad Leumi, General Council of the Jewish Community in Palestine".

      He is an amazing supporter of Israel. FOIWA spent 3 hours with him on a study tour in Jerusalem a few years back. I was speaking with Steve a few days ago about it. I have jut organised a meeting for him with Shurat HaDin in February.

    2. Thx, his FOIWA bio is very interesting.
      I'll keep an eye out for the interview

      Speaking of WW2
      Churchill bust unveiled in capital

      Ireland Loves Israel

  2. Wow! Thanks as always for the fantastic links, Ian. You must have antennae!

  3. Meanwhile, touring Wales at present:

    Performer Eddie Ladd and director Judith Roberts begin their piece Gaza/Blaenannerch by literally crossing paths. They greet each other in Welsh with warm smiles as they criss-cross the space to take their respective opening positions. Ladd gazes upstage into the blank cinematic landscape of a blue-green screen as though regarding infinite imagistic possibilities. Roberts, seated in the downstage left corner facing the action throughout like a kind of conversant prompter, begins in soft tones to describe the scene Ladd might be surveying. As the title suggests, we will come to know the terrain Gaza/Blaenannerch invokes in our imaginations, as at least two different countries; Palestine and Wales simply put, but an intractable and sinister fairy tale land also seems to emerge through the interrogation of these two paralleled worlds.

    A less poised treatment of this type of subject would probably read as preachy polemic or even worse, as airy fairy ‘interpretative’ tosh, but Ladd is a performer of uncommon presence and both her bodily and intellectual explorations were intelligently heartfelt and genuinely engaging. Physically she posses the tiniest of frames, as petite as a child; but her tight sinewy and veiny muscles strained fiercely and her mouth gaped in a rictus of adult agony, as she twisted through elongated paroxysms of arrhythmic Butoh-esque choreography. The movement was created by Ladd herself and collaborator Cai Tomos. Her delivery of a nuanced and often complexly historiographical text, spoken alternately in Welsh and English, was relaxed, crisp and compelling. And despite the rich density of the material, Roberts paced and edited in such a way as to allow Ladd time to breathe and exist before us, both a human witness and a living symbol of the history lesson she was illustrating.

    At the start of the piece a row of stones were lined up in descending sizes along the right side of the playing area. Like moveable vertebrae in a kind of nationalistic backbone, their order was soon dismantled by Ladd. She lugged them into a scattered topography, scooted them around and stacked them on top of each other, cobbling together a figurative map of the contested regions she and Roberts evoked otherwise with words. In one sequence she balanced
    precariously for long tremulous moments on a pile of the rocks, and in another she held a flat stone in the palm of each hand; rotating in slow motion, she cycled through images of Moses coming down from the mountain with the tablets of commandments, a crucifix, and the balancing scales of the blind Lady Justice.

    There was a lot to learn from this work, which dived headlong and in depth into subjects as wide ranging and unexpectedly interconnected as the Israel/Palestinian conflict, Welsh Nationalism, Zionism and chemistry, but we were never pummelled with the didactic aspect. Despite a fairly clear sympathy with the Palestinian side of that tragic encounter, the piece was pitched more as a pondering question than an imperative. Research as performance is a hard spot to hit, but Gaza/Blaenannerch is as much dark enchantment as it is topical or political project, as personally searching and honest as it is sharply observed.

    Touring Wales until 9 November. Dates/details:

  4. Whoops forgot this link

  5. Those kaffiyahs they're wearing are soaked in the blood and gore of babies. I mean that quite literally. If you wear a kaffiyah you in fact spattered with the blood of people you personally helped to lynch, shoot, stab, blow up including babies and pregnant women you personally looked in the eye and butchered.

    1. Aw, Trudy! That's a bit OTT re these ladies!


Note: only a member of this blog may post a comment.