Category Archives: Non-Profit

Why I Chose Not to Program The Death of Klinghoffer and Why I Still Support It

Over the past week or so I’ve had many difficult exchanges with friends and family over social media around posts I’ve shared about the Metropolitan Opera’s production of The Death of Klinghoffer. I’ve shared articles defending the production, reviews of its artistic merit, social critiques of what the controversy represents and even parallel experiences of the production in other cities. Those who were convinced it was anti-Semitic remain firmly convinced. Those who believed the protests were just another example of right wing denial of any legitimate Palestinian narrative remain similarly unswayed. Depressingly, this episode has only reinforced the worst stereotypes each side had of the other in the ongoing shouting-match over Israel (can we really call it a conversation at this point?). The Jewish general manager of the Met Opera has been compared to a Nazi sympathizer and a supporter of Hamas. I’ve read comparisons of the actions of those who opposed the performance of the opera to a “book burning of Adams’ work.” By my rule of thumb, whoever calls his opponent a Nazi first loses — and it’s hard to find any winners in this encounter.

Achille LauroMy own feelings about the opera itself are mixed — I saw the film version created for Channel Four in the UK directed by Penny Woolcock in 2004. At the time, I was considering it for possible inclusion in the Washington Jewish Film Festival in my capacity as the Festival’s director. I remember being entranced by the music, disturbed by its portrayals of history and touched by certain images that have stayed with me over a decade later — such as that of Klinghoffer’s wheelchair sinking through the water after he has been murdered and thrown overboard. I chose not to include the film for a number of reasons, some practical (opera on film is a tough sell) and some artistic/thematic. While I appreciated the aesthetic strengths of the work, it felt far too removed from its subject to be included in a Festival in which other films dealing with the Israel-Palestine conflict spoke with greater authenticity and authorial intimacy. The work overall, felt like the product of outsiders to the conflict, looking to illuminate the tragedies and universal lessons for both sides. Firsthand knowledge of course, isn’t a prerequisite for great art, but when the subject is one that brings such passion along with it, one runs the risk — as Adams and his librettist Alice Goodman have certainly be accused — of naivety. That is why the work itself turns the characters themselves into archetypes more than real people, the terrorists are an extension of the chorus of exiled Palestinians and the Klinghoffers are extensions of the chorus of exiled Jews. One cannot blame Klinghoffer’s daughters for objecting to the opera — that is not their father up there (but neither should they have the last word). We are all products of our history, but the opera isn’t really interested in why these people were affected in the ways they were. It is why the captain is in many ways the most interesting character, he is also a product of history, but its effects on his character are more subtle and his choices stem from a much more personal, interesting and humanely flawed place.

A friend I respect greatly wrote me, “folks flying planes into skyscrapers, dragging gay men to their deaths behind cars,etc? They get no inner lives.” I simply can’t agree. Their inner lives may leave them twisted and deranged, committing heinous acts because of the person they have become, but to deny that their inner lives are not worthy of some kind of artistic exploration is to go too far. Why? Because to have that attitude is easy when you’re talking about Hitler, Osama Bin-Laden or Pol Pot; but there are a lot of shades of grey between them and the historical rungs of the ladder that the Achille Lauro terrorists occupy. To elevate Klinghoffer’s murderers to the level of genocidal prime-movers is to engage in a false equivalency that blurs our understanding of evil. It runs the risk of a turning a tradition which takes the weighing of justice most carefully, into a shrill hyperbole.

So, my defense of the opera has to be couched in the acknowledgement that given my own opportunity to program it, I chose not to. I think it is probably fair to say that even if I had wanted to program it, given the controversy that already surrounded the work, I might have faced internal and external opposition that would have made including it unwise and impossible. And it is that last acknowledgement that leaves me so unsettled. Because what was at stake in this debate was not the production of this specific opera in this specific venue. It was the freedom of artists, Jewish and non-Jewish, Israelis and Palestinians, to engage with the most sensitive and provocative topics in their histories and create music, theater, dance and stories from them, and for arts presenters to provide audiences with the opportunity to see and judge for themselves the results.

That is not a priority for many of the opponents of The Death of Klinghoffer. While there were some true arts supporters among the opera’s opponents, for many others (among them, the organizing core), the opera was another front in the total war for Israel’s survival. And while I can share their goal — that Israel survive — I cannot share their belief that this opera constituted a threat to that survival, or even that it was antagonistic to it (or for that matter, that its survival depends on a “total war” footing). I believe this as a Jew, as a Zionist, as a writer, and as someone who has first-hand knowledge of terrorism. But by mounting such a large, public and compelling campaign against an opera that most people will never hear or see, a profoundly chilling wind has been blown across the landscape of Jewish culture specifically and American culture more broadly. In development offices and board meetings across the land, well-intentioned but misguided leaders will ask themselves when faced with the prospect of presenting potentially challenging and controversial material, “Do we want another Death of Klinghoffer on our hands?” Only the most committed (and masochistic) will conclude that they are willing to risk it.

As I was getting this post together, another deadly chapter in this ongoing conflict was written in Jerusalem. A terrorist plowed his car into a crowded Jerusalem train station and took the life of a three-month-old baby girl; an attack which was initially reported in the A.P. as, “Israeli police shoot man in East Jerusalem.” Up in Ontario, an attack with still unfolding causes and consequences reminds us that terror, like that of the Achille Lauro, remains a frequent feature of our landscape. Events like these and their coverage illuminate how pro-Israel activists can see malevolence lurking around every corner and why their suspicions are not without a basis in reality. The urge to circle the wagons and put-off critical examination of ourselves and the “other” for the distant future is strong.

Yet, I do not believe that attacking straw men in the arts serves the long-term interests of the pro-Israel community. It conflates real terrorists with those who wish to understand why terrorism still attracts thousands to its cause; those who are ideologically committed to our destruction with those who wish to understand the historic grievances that feed such fundamentalism. Our tradition demands better.

photo by D. R. Walker, via Wikimedia Commons
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Filed under Arts, Facts as we see them, Jewish Stuff, Non-Profit

Living in the Past For the Foreseeable Future

According to the people who know, the economy is entering into a period of sustained recovery. This is good news for the country, and heck, probably the world. But it is a mixed blessing for those of us living in the Non-Profit sector, or at the very least my little corner of it. For us, this recession and the long-fall that precipitated it is something we will be living with for at least the next year to 18 months.

They always say that jobs are a lagging indicator of a recovering economy. Bullshit. If you want yourself a lagging indicator, look no further than the non-profit world. So many of us have seen drastic budget cuts, reductions-in-force, scaled-back or shelved programs because of the economic downturn — not to mention furloughs, the elimination of employer contributions to our pensions and the increased pressures to do more with less (and in less time). And the reality is that we will be the last to shed these hardships as the economy returns to more solid footing.

Why? Well, for those non-profits (like my own) that depend on a large amount of funding from foundations and endowments, the available pot of cash available is usually determined by how much came into the coffers last year, not what is expected to come in this year. For some of these funding entities the awards pool is based on the average return on investment for the last three years. So it takes extra time to climb out from the extra-deep hole this financial crisis has created. (Don’t even get me started on the foundations and individual donors that were wrecked by Bernie Madoff. It just makes me want to get arrested, go to prison, get sent to Madoff’s prison just so I can be there when someone sticks him with a shiv.) So while 2010 may very well be a fine and dandy year for the economy, we’ll still be living in 2009–or worse, the aggregate of 2007, 2008 and 2009. For those of us in management, as we begin to budget another year without raises for our staff, we become acutely aware that we risk a brain-drain to the private sector as our workers continue to lose ground in real wages (when you factor in inflation and annual hikes in health care costs in the neighborhood of 15-17%, our staff has seen their real earnings decline). My staff is incredibly devoted and dedicated to their work, but there is a limit to what they can be expected to endure. (I’m already seeing this in positions that can easily move to the private sector like IT and accounting.)

It’s not all bad news. At least where I work our programs have been doing incredibly well. Our earned income is exceeding expectations in many areas. And for the moment, staff-turnover has been incredibly low and as such everything has been running incredibly efficiently. We’ve even seen individual donations begin to rise again, although not to the extent that they can cover the losses in grants and endowments.

We know we can get through this. The question is how to preserve that which we do best and to continue doing it the best way possible, until the time comes when we can begin to grow again.

I apologize if this is a little cryptic. It’s not appropriate for me to get into the specifics of my own organization in this forum, but I think the broad outlines of this reality will be recognizable to many out there. In more ways than one, this post is just as much about convincing myself that this period we are going through is just that– a period that will at some point transition into another (and hopefully more prosperous) period.

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