 |
At Wolf Prize Ceremony, Politics Mixed With Arts Sets Off Sparks By JOSEPH W. POLISI
Israel has fascinated me—culturally, politically, historically—for most of my adult life. Since my mother was Jewish, I have learned that I am actually eligible to apply for Israeli citizenship if I so desire. I still remember the outbreak of the 1967 war, which began while I was in the midst of taking a final exam in political science at the University of Connecticut. Israel was fighting for its life then—as it is now—and I find such a human drama deeply compelling.
 |
| President Polisi addresses alumni at a gathering in Tel Aviv. (Photo by Assaf Shilo) |
|
Therefore, when I was invited to attend the 2004 Wolf Prize Ceremony in Tel Aviv at the Knesset, Israel's parliament, I felt a desire and an obligation to attend. This would be my second trip to Israel; the first was in the late 1980s. Although there were those who advised me that I might encounter personal danger in Israel in May 2004, not to go out of fear would have been the wrong decision.The political tension in Israel during my visit was palpable every moment that I was in the country. Liberal and conservative political forces are constantly in conflict, and the religious right has a growing voice in the politics of the nation.I visited both Tel Aviv and Jerusalem. The differences between the two cities present a view of the Israeli microcosm. Tel Aviv is a modern, cosmopolitan city with a very secular feel—from modern buildings to American rap music (uncensored) blaring on a Mediterranean beach on a Friday afternoon. Jerusalem has a solemnity that comes not only from its history but also from its religiosity, which seems significantly more present compared to my earlier visit in the 1980s. The white Jerusalem stone, which covers every building in the city, creates a uniformity that contrasts with the visual diversity of Tel Aviv.I was in Israel because I had chaired the committee that chose Daniel Barenboim and Mstislav Rostropovich to be the 2004 Wolf Prize recipients in music (there are also many other Wolf Prizes in the sciences and mathematics). It is Israel's equivalent of the Nobel Prize. The members of the committee were told that the prize was based solely on artistic excellence. Therefore, Barenboim and Rostropovich were chosen unanimously.I learned only many months after the committee met in New York that Barenboim had a very controversial political profile in Israel, holding a position far to the left of the Sharon government. When the prize recipients were announced in the early spring, there were some government officials who threatened to boycott the ceremony. In addition, only Barenboim would receive the music prize on that May evening, because Rostropovich had a professional scheduling conflict.
 |
| Polisi shares a laugh with music alumna Nechama Naschitz and dance alumna Rina Schenfeld. (Photo by Assaf Shilo) |
|
The events of the ceremony are worth telling. On a large stage in a lobby directly outside the Knesset were all the prize recipients (a total of about 10), the board of the Wolf Foundation, and two major political figures in Israel: Moshe Katsav, Israel's president, and Limor Livnat, the minister of education, culture, and sport. Both politicians had already made known their negative feelings about Barenboim because of his liberal political views and his unexpected performance of a work by Wagner as an encore during the 2002 Jerusalem Festival. The ceremony was uneventful until it was Barenboim's moment to receive the prize.Both Katsav and Livnat spoke early in the event and touched lightly on the political obligations of scientists and artists. When Barenboim came to the lectern to accept the prize, he initially read from the section of the Israel Declaration of Independence that speaks of tolerance for all people. Then the first barb occurred. "Does the condition of occupation and domination fit the Declaration of Independence?" he asked. Minister Livnat immediately had fire in her eyes, and signaled to an aide to come up on stage. The minister told her aide to advise the master of ceremonies that she wished to respond to Barenboim.Sure enough, as soon as Barenboim had finished, Livnat was announced, and lit into Barenboim for his political statements at a non-political event. Barenboim then jumped back to the lectern and said that he had not attacked Israel. "You choose to interpret my words differently," he said to the minister. As semi-chaos reigned, the Israel national anthem was sung, with Barenboim periodically gesticulating to Minister Livnat during the last section of the anthem, which, I was told, deals with rights for all people.There then occurred a quick succession of interviews and camera shots for Barenboim, while President Katsav and Minister Livnat left. I was introduced to a woman who was the former German cultural attaché to Israel. She was aggressively smoking a cigarette, although smoking is prohibited in the Knesset. It seems she was furious with a member of the Wolf board (who was wearing a white cowboy hat, no less) whose name was Menahem Alexenberg. While Barenboim was speaking, he stood up stage right and held up a white sheet of paper that had something written on it in the shape of an arch. I could not make the words out, but it seemed to be in German. I learned soon thereafter that Mr. Alexenberg had crudely replicated a depiction of the arch that hung over the entrance to Auschwitz, which read Arbeit macht frei (Work will make you free), but he had replaced the word "Arbeit" with "Musik," in a very ill-advised barb at Barenboim. Whatever good will was engendered by honoring the Wolf recipients dissolved in a cacophony of shouts and accusations as the evening concluded.In sum, I believe Daniel Barenboim missed a great opportunity to extend a hand of friendship to his adversaries or, at the very least, to talk about the good deeds accomplished in the town of Ramallah on Friday when he performed at a center for Arab youth who are receiving musical instruction. He also played a solo piano recital on Saturday evening as a benefit for his music education program in the West Bank and in Israel. I found the experience to be a compelling and troubling example of the artist's power as citizen. Ultimately, artists must decide whether they wish to be leaders or provocateurs.This incident reflects the general atmosphere I found in Israel during this trip. There is a high level of anxiety and uncertainty as to what the best course of action is for the country. Many people speak of peace, but few seem willing to forgive the sorrows of the past—perhaps an impossible goal.
As Americans approach a presidential election, the lessons of Israel resonate for me. It is essential that all of the members of the Juilliard community who can vote in this election, do so as informed citizens who take the responsibility of becoming conversant with the issues of the day and of the role of artists in enriching American society in the time ahead.Joseph W. Polisi is the president of Juilliard.
|
