Israel row: The bid to defund Toronto LGBT Pride is straightforward censorship

The bid to ban pro-Palestine group Queers Against Israeli Apartheid as well as the slogan “Israeli apartheid” is a direct attack on freedom of speech and the right to protest.

A group of Toronto city councillors will file a motion on 28 May to cut the grant to Toronto LGBT Pride unless the organisers agree to ban the participation of a pro-Palestinian activist group, Queers Against Israeli Apartheid (QuAIA). They also want to ban the use of the phrase ‘Israeli apartheid’.

The funding cut of $123,807 would jeopardise the future of Toronto Pride, just four week’s before the annual one million-strong downtown parade and a year before it is due to host the global lesbian, gay, bisexual and transgender (LGBT) festival, WorldPride 2014.

According to Toronto journalist Andrea Houston, the move to withdraw city money from Toronto Pride is being spearheaded by councillors David Shiner and James Pasternak - the latter is seeking to have the phrase “Israeli apartheid” banned.

This proposed ban is supported by Anita Bromberg, from the Jewish human rights organisation, B'nai Brith. She added that there is no place for such language because Pride is not political: "This is a city-wide celebration. I am deeply offended."  

Francisco Alvarez, co-chair of Pride Toronto, says Pasternak and his colleagues are wrong to suggest that by allowing QuAIA to participate in the parade they are endorsing its viewpoint and should face financial penalisation.

“That is just not true,” he says. “We do not hold any view with regard to the Israel/Palestine conflict at all. We simply provide a platform for groups that are organized within our community to express their views, as long as they conform with the laws of the land ... It sounds to me that, since we won’t reject QuAIA, [Pasternak] is making a link that we are supporting their perspective. We support them as a community group. We support other groups as well.”

Another councillor, Frank Di Giorgio, told Canada’s leading LGBT news magazine, Xtra!, that the dispute is one of “competing rights.”

“The message that [QuAIA] sends out ... I believe in protecting rights, but I draw the line when you start protecting one right that infringes on another right. Then you have to look at it in closer detail ... I suspect we will try and use sanctions if we have to, like, for example, not providing funding if they don’t fall in line.”

The co-chair of Queer Ontario, Nick Mulé, believes councillors Di Giorgio and Pasternak are more interested in censorship opinions than protecting rights. It’s inaccurate to describe the dispute as one of “competing rights,” he argues, because the right to religious freedom doesn’t mean the right to suppress other people’s viewpoints.

“They are trying to shut down dialogue and infringe on freedom of expression,” he says. “QuAIA is not a people-hating group. Their message is a critical analysis of political policy. If we don’t have the freedom to critique policy, then we are really in trouble as a society.”

I agree. I am amazed that in a supposedly liberal democracy like Canada the country’s main Pride parade can be threatened with the removal of city funding because some councillors disagree with one organisation and one slogan.

Their demand for a ban is straightforward censorship. It’s a direct attack on free speech and the right to protest - and, some people might say, borderline blackmail.

Pride parades should be open to all individuals and organisations that support LGBT human rights. There should be no political vetting, unless the participants are homophobic, incite violence or oppose the human rights of others.

Lots of people may disagree with QuAIA and even find their rhetoric offensive. But in a democracy they have as much right to free speech as pro-Israeli groups. The main issue is not whether QuAIA is justified in its criticisms of Israeli policy but whether it has a right to freedom of expression.

QuAIA does not support violence against Jews or Israelis. It is merely protesting against the Israeli occupation of the Palestinian territories and the abusive, humiliating subjugation of the Palestinian people by Israeli soldiers and extremist settlers. This occupation and mistreatment hurts both straight and LGBT Palestinians, which makes it a legitimate concern for LGBT people everywhere who care for universal human rights.

I was proud to march with Queers Against Israeli Apartheid in the 2011 New York LGBT Pride parade. I found them passionate, idealistic and humanitarian. There were no anti-Semitic chants. They want a homeland for the Palestinians. They support a just cause: the human rights of LGBT and straight Palestinians.

Although many people find the apartheid accusation offensive, in the occupied territories Israel has an apartheid-style system of separate settlements and separate roads for Jews and non-Jews. Palestinians have their own segregated check-points and border-crossings, plus a separation wall which, whatever its supposed justification, divides two peoples based primarily on their ethnicity.

While pro-Israelis reject the apartheid analogy, it has been echoed by the Nobel peace laureate, Archbishop Desmond Tutu. He says the Israeli system in the occupied territories segregates two peoples and involves many different laws that discriminate against Palestinians, either by intention or default.

Some people question why the fate of the Palestinians concerns me. Well, I am a human rights defender who believes in the principle of universal human rights. To me, human rights are for everyone, including Israelis and Palestinians, whether gay or straight.

Human rights are about more than gay rights. I am not a gayist. I never judge any government or people solely on their stance on LGBT issues. It is important to consider all aspects of human tights, not just gay ones. By any standards, LGBT and straight Palestinians are being denied human rights by Israel, as well as by their own regimes.

Israel is gay-friendly. Very commendably, it has good equality laws for LGBT people: the best in the Middle East. Indeed, vastly better than the surrounding homophobic Arab tyrannies.

But there is a downside too. Although Israel likes to use its gay rights record to project a liberal image to the outside world, it refuses asylum to Palestinians fleeing homophobic and transphobic persecution.

The truth is that Israel’s LGBT-friendly democracy is, to a considerable extent, based on the conquest of the Palestinian people. No amount of progressive LGBT policies can justify Israel’s occupation of Palestinian territories, the building of illegal new settlements and the on-going seizure of Palestinian farms and houses. Moreover, some of the victims of these Israeli expropriations are gay Palestinians.

LGBT equality in a society based on the dispossession of the Palestinian people is not true liberation; it colludes with oppression. Queers Against Israeli Apartheid are right to expose the tainted rainbow flag that flies over Israel.

Peter Tatchell was a founding member of the Palestine Solidarity Campaign (UK) in 1982. He has repeatedly condemned human rights abuses by Israel and the Palestinians, particularly by the Hamas regime in Gaza. More information about his human rights campaigns: www.PeterTatchell.net

Toronto Pride. Photograph: Getty Images.

Peter Tatchell is Director of the Peter Tatchell Foundation, which campaigns for human rights the UK and worldwide: www.PeterTatchellFoundation.org His personal biography can be viewed here: www.petertatchell.net/biography.htm

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Love a good box set? Then you should watch the Snooker World Championships

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. 

People are lazy and people are impatient. This has always been so – just ask Moses or his rock – but as illustrated by kindly old Yahweh, in those days they could not simply answer those impulses and stroll on.

Nowadays, that is no longer so. Twitter, YouTube and listicles reflect a desire for complex and involved issues, expansive and nuanced sports – what we might term quality – to be condensed into easily digestible morsels for effort-free enjoyment.

There is, though, one notable exception to this trend: the box set. Pursuing a novelistic, literary sensibility, it credits its audience with the power of sentience and tells riveting stories slowly, unfolding things in whichever manner that it is best for them to unfold.

In the first episode of the first series of The Sopranos, we hear Tony demean his wife Carmela's irritation with him via the phrase “always with the drama”; in the seventh episode of the first series we see his mother do likewise to his father; and in the 21st and final episode of the sixth and final series, his son uses it on Carmela. It is precisely this richness and this care that makes The Sopranos not only the finest TV show ever made, but the finest artefact that contemporary society has to offer. It forces us to think, try and feel.

We have two principal methods of consuming art of this ilk - weekly episode, or week-long binge. The former allows for anticipation and contemplation, worthy pursuits both, but of an entirely different order to the immersion and obsession offered by the latter. Who, when watching the Wire, didn’t find themselves agreeing that trudat, it's time to reup the dishwasher salt, but we’ve run out, ain’t no thing. Losing yourself in another world is rare, likewise excitement at where your mind is going next.

In a sporting context, this can only be achieved via World Championship snooker. Because snooker is a simple, repetitive game, it is absorbing very quickly, its run of play faithfully reflected by the score.

But the Worlds are special. The first round is played over ten frames – as many as the final in the next most prestigious competition – and rather than the usual week, it lasts for 17 magical days, from morning until night. This bestows upon us the opportunity to, figuratively at least, put away our lives and concentrate. Of course, work and family still exist, but only in the context of the snooker and without anything like the same intensity. There is no joy on earth like watching the BBC’s shot of the championship compilation to discover that not only did you see most of them live, but that you have successfully predicted the shortlist.

It is true that people competing at anything provides compelling drama, emotion, pathos and bathos - the Olympics proves this every four years. But there is something uniquely nourishing about longform snooker, which is why it has sustained for decades without significant alteration.

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. Most frequently, snooker is grouped with darts as a non-athletic sport, instead testing fine motor skills and the ability to calculate angles, velocity and forthcoming shots. However, its tempo and depth is more similar to Test cricket – except snooker trusts so much in its magnificence that it refuses to compromise the values which underpin it.

Alfred Hitchcock once explained that if two people are talking and a bomb explodes without warning, it constitutes surprise; but if two people are talking and all the while a ticking bomb is visible under the table, it constitutes suspense. “In these conditions,” he said, “The same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: ‘You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!’”

Such is snooker. In more or less every break, there will at some point be at least one difficult shot, loss of position or bad contact – and there will always be pressure. Add to that the broken flow of things – time spent waiting for the balls to stop, time spent prowling around the table, time spent sizing up the table, time spent cleaning the white, time spent waiting for a turn – and the ability for things to go wrong is constantly in contemplation.

All the more so in Sheffield’s Crucible Theatre. This venue, in its 40th year of hosting the competition, is elemental to its success. Place is crucial to storytelling, and even the word “Crucible” – whether “a ceramic or metal container in which metals or other substances may be melted or subjected to very high temperatures,” “a situation of severe trial”, or Arthur Miller’s searing play – conjures images of destruction, injustice and nakedness. And the actual Crucible is perhaps the most atmospheric arena in sport - intimate, quiet, and home to a legendarily knowledgeable audience, able to calculate when a player has secured a frame simply by listening to commentary through an earpiece and applauding as soon as the information is communicated to them.

To temper the stress, snooker is also something incredibly comforting. This is partly rooted in its scheduling. Working day and late-night sport is illicit and conspiratorial, while its presence in revision season has entire cohorts committing to “just one more quick frame”, and “just one more quick spliff”. But most powerfully of all, world championship snooker triggers memory and nostalgia, a rare example of something that hasn’t changed, as captivating now as it was in childhood.

This wistfulness is complemented by sensory pleasure of the lushest order. The colours of both baize and balls are the brightest, most engaging iterations imaginable, while the click of cue on ball, the clunk of ball on ball and the clack of ball on pocket is deep and musical; omnipresent and predictable, they combine for a soundtrack that one might play to a baby in the womb, instead of whale music or Megadeth.

Repeating rhythms are also set by the commentators, former players of many years standing. As is natural with extended coverage of repetitive-action games, there are numerous phrases that recur:

“We all love these tactical frames, but the players are so good nowadays that one mistake and your opponent’s in, so here he is, looking to win the frame at one visit ... and it’s there, right in the heart of the pocket for frame and match! But where’s the cue ball going! it really is amazing what can happen in the game of snooker, especially when we’re down to this one-table situation.”

But as omniscient narrators, the same men also provide actual insight, alerting us to options and eventualities of which we would otherwise be ignorant. Snooker is a simple game but geometry and physics are complicated, so an expert eye is required to explain them intelligibly; it is done with a winning combination of levity and sincerity.

The only essential way in which snooker is different is the standard of play. The first round of this year’s draw featured eight past winners, only two of whom have made it to the last four, and there were three second-round games that were plausible finals.

And just as literary fiction is as much about character as plot, so too is snooker. Nothing makes you feel you know someone like studying them over years at moments of elation and desolation, pressure and release, punctuated by TV confessions of guilty pleasures, such as foot massages, and bucket list contents, such as naked bungee jumping.

It is probably true that there are not as many “characters” in the game as once there were, but there are just as many characters, all of whom are part of that tradition. And because players play throughout their adult life, able to establish their personalities, in unforgiving close-up, over a number of years, they need not be bombastic to tell compelling stories, growing and undergoing change in the same way as Dorothea Brooke or Paulie Gualtieri.

Of no one is this more evident that Ding Junhui, runner-up last year and current semi-finalist this; though he is only 30, we have been watching him almost half his life. In 2007, he reached the final of the Masters tournament, in which he faced Ronnie O’Sullivan, the most naturally talented player ever to pick up a cue – TMNTPETPUAC for short. The crowd were, to be charitable, being boisterous, and to be honest, being pricks, and at the same time, O’Sullivan was playing monumentally well. So at the mid-session interval, Ding left the arena in tears and O’Sullivan took his arm in consolation; then when Ding beat O’Sullivan in this year’s quarter-final, he rested his head on O’Sullivan’s shoulder and exchanged words of encouragement for words of respect. It was beautiful, it was particular, and it was snooker.

Currently, Ding trails Mark Selby, the “Jester from Leicester” – a lucky escape, considering other rhyming nouns - in their best of 33 encounter. Given a champion poised to move from defending to dominant, the likelihood is that Ding will remain the best player never to win the game’s biggest prize for another year.

Meanwhile, the other semi-final pits Barry Hawkins, a finalist in 2013, against John Higgins, an undisputed great and three-time champion. Higgins looks likely to progress, and though whoever wins through will be an outsider, both are eminently capable of taking the title. Which is to say that, this weekend, Planet Earth has no entertainment more thrilling, challenging and enriching than events at the Crucible Theatre, Sheffield.

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