Tag Archives: Gaza

Qwertyman No. 89: The Country I Wanted to Love

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Qwertyman for Monday, April 15, 2024

FOURTEEN YEARS ago, I received a writing assignment that any journalist would have jumped at: to go with other media representatives on a week-long visit to Israel and to report on our observations. Although the trip was sponsored by the Israeli government, and therefore clearly a PR initiative, we were under no instructions as to what to write about, or how. Of course there were implicit or effective restrictions: our itinerary did not include visits to Gaza, the West Bank, or other Palestinian-controlled areas, and we had no interviews with Palestinians (interestingly, one of our companions, ABS-CBN’s Uma Khouny, was half-Filipino and half Arab-Israeli). 

As expected, we saw the best of Israel, the sites that any “Holy Land” tour would have included: the Temple Mount, the Holy Sepulchre, the Wailing Wall, the Dead Sea, Masada, the bazaars, and so on. We also visited a kibbutz and marveled at how its inhabitants could coax so much life and verdure out of barren desert. We were brought to a state-of-the-art facility where we drove an Israeli-made, 100%-electric car around a track (this was in 2010, mind you). Just outside Tel Aviv, we met children at a hospital where they had heart operations they couldn’t have afforded or gotten otherwise; these children included Palestinians, Angolans, Chinese, and yes, a Filipino. We watched  vibrant performances of contemporary Israeli dance and music. We were moved close to tears by a visit to the Holocaust exhibits at Yad Vashem.

We left deeply impressed by the Israel we had seen and experienced, and I reported as much in two “Penman” columns for the STAR. We were aware that we had not seen everything on our carefully curated tour, and we understood that there were simmering tensions behind the high walls that were rising all over the place to block off zones that the government might have considered unsafe, but there was a time for every story, and this time was our hosts’.

Israel did not even need to invite me to gain my sympathy. Like many Catholic boys in the 1960s, I grew up steeped in the belief that the Jews were God’s chosen people—why else would he have delivered them out of Egypt (a scene replayed over and over again in Technicolor on Holy Week) to the Promised Land? I read Leon Uris’ Exodus and enjoyed the movie version with its memorable theme, “This Land Is Mine.” I learned to sing “Hava Nagila,” and so did you.

Over the next decades I would watch countless documentaries on the Mossad and its exploits in capturing Adolf Eichmann, freeing the hostages at Entebbe, going after the leaders of Black September in the wake of the Munich Olympics massacre, and gathering intelligence leading to the Yom Kippur War. The eye-patched Moshe Dayan and the grandmotherly Golda Meir were both cinematically compelling. More than biblical heroes, Israelis and Jews represented the finest of human qualities—tenacity, ingenuity, resolve, courage, and imagination. Even beyond Israel, who could argue with the brilliance of Isaac Bashevis Singer, Jascha Heifetz, Woody Allen, Barbra Streisand, and Marc Chagall? Never mind the Rothschilds and the Shylocks.

But now much of that luster has tragically vanished, lifted like so much vapor, in the wake of Israel’s invasion of Gaza and its horrific toll on human life. 

Like most onlookers from afar, I was appalled and outraged by Hamas’ attack on Israeli communities and citizens last October 7; subsequent reports of rapes and executions showed these assaults to have been premeditatedly barbaric, calculated to sow fear and terror in the enemy. No matter the history behind them, no matter the grievances that may have led to their unleashing, the violence committed especially against innocent civilians was brutish and repulsive.

Israel may have gained the moral high ground at that point in its pledge to avenge the victims, recover the hostages, and destroy Hamas, but it soon lost that superiority in its disproportionately savage invasion of Gaza. All its claims to sophistication and efficiency in waging war—the kind of surgical operation on display at Entebbe and elsewhere—went out the window in air strikes that have killed thousands of Palestinian civilians, including hapless children; even those who miraculously survive will forever bear the scars and trauma of this assault. To “weed out” Hamas, Netanyahu’s Israel has chosen to flatten and to destroy the whole garden. And as if the world were not watching, an Israeli commander even declared on TV that “There is no famine in Gaza.” 

This has gone far beyond “an eye for an eye, a tooth for a tooth.” The Israelis have claimed buckets of Palestinian eyes and teeth for every one lost to an Israeli. They have exceeded even the Roman practice of decimation, by which every tenth man in a cohort was executed in punishment for the offenses of the lot; instead, ten Palestinians seem to have suffered for every Hamas member deemed at fault for the October 7 attack (the actual kill ratio has been 30 to 1). The supreme irony of it is that Israel has merely guaranteed that Hamas’ age-old causes and resentments will live on, and even prosper with global sympathy for Palestinian self-determination, as may have been Hamas’ game plan all along.

Of course, the State of Israel does not need our admiration and affection, and we understand that it is engaged in an existential fight for its life on many fronts, as it has been since its inception in varying degrees of intensity; the same can now be said for the Palestinians. My opinion as a distant Filipino commentator will change nothing (except perhaps preclude me from further invitations to deplane at Ben-Gurion airport). I realize that what I am saying here will please neither side of this conflict and their partisans, and I expect to receive mail to insist that I failed to see this and that and to justify the ferocity of their actions. I know that we are no longer watching a movie with a billowing theme song and clear heroes and villains. 

But I suspect I am not alone in expressing my great sadness over the turn taken by a country I wanted to love. I can only take refuge in thinking that not all Israelis are Netanyahus, and not all Palestinians are Hamas. “Vengeance is mine, saith the Lord.” I wonder if that line from Deuteronomy has its equivalent in the Torah, or the Koran for that matter.

Qwertyman No. 72: Bullets to Ballads

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Qwertyman for Monday, December 18, 2023

MAYBE IT’S that time of year, when we get all wishful and start asking for things that will likely never come or never happen—like peace on earth and goodwill to men—but it’s the wishing that keeps us human.

Two weekends ago, I had the extraordinary privilege of spending Saturday night and then Sunday morning listening to two different concerts. The first, at Manila Pianos in Magallanes, featured tenor Arthur Espiritu and soprano Stefanie Quintin Avila in a program that brought the audience to its feet and singing along at the end of many encores.

After that wonderful performance, I messaged my deepest thanks to concert producers Pablo Tariman and Joseph Uy, noting that they made “magical interludes like this possible in these stress-filled times. If only all those bombs and bullets in Ukraine and Gaza were music. Fire symphonies, concertos, fugues, and cantatas across the border!”

The next morning, we drove out to Batangas City for another friend’s birthday celebration, which was heralded by a sparkling mini-concert with soprano Rachelle Gerodias and tenor Jonathan Abdon. At lunch that followed, I sat down at a table with a renowned journalist, a composer-performer, and a senator, and we were all breathless with joy at the music we had just experienced. It was the composer who put it best: “How can anyone argue with that?”

Indeed, in a world and at a time prone to argument and conflict, where even the most innocuous remark can ignite scorching disputation, the enjoyment of music seems to serve as a universal balm, a hushing power that creates a pause just long enough for us to remember our better selves—taming fangs, retracting claws, infusing tenderness into the coarsest of sensibilities. As William Congreve put it more than three hundred years ago, “Music hath charms to soothe the savage breast” (not “beast” as it’s often misquoted, although it could apply just as well).

As I’ve noted elsewhere, whenever I think of music as a discipline, what comes to mind is Leonard Bernstein’s description of it as “the only art incapable of malice.” That may or may not be true—music in specific historical contexts such as Nazi Germany and our own martial law has certainly been made to serve the purposes of despotism. 

I recall that in 1980, in particularly disturbing example of music perverted for fascist pleasure, a film titled “Playing for Time” (written by Arthur Miller as an adaptation of the French Jewish singer-pianist Fiana Fenelon’s autobiography The Musicians of Auschwitz) showed how concentration-camp musicians were forced to play to entertain their jailers as well as to stay alive. It still chills me to the bone, as a prisoner under martial law, to hear the New Society anthem “May Bagong Silang” being played anew over the radio as though the past half century never happened.

Still, most people will surely agree that music has wielded a beneficent influence on human life and society, in ways that appeal directly to the heart and mind. 

In my own lectures, whenever I need to reach for metaphorical illustrations of the power of art to compel the human spirit, I turn to music. I advert to composer Dmitri Shostakovich, whose Symphony No. 6 in C Major, which came to be known as the “Leningrad Symphony,” was premiered during the siege of Leningrad by the Germans in July 1942, and became a kind of anthem of Soviet resistance, and to the story of the Berlin Philharmonic persisting in recording Brünnhilde’s Immolation Scene and the finale from Wagner’s Götterdämmerung despite the Allied forces knocking on Berlin’s gates in April 1945 (supposedly you can hear artillery in the background of that recording). 

It may be too romantic to hope that music will waft over the bunkers in Ukraine and Gaza this Christmas season and still the gunfire, however briefly. We’ve all seen that movie and know how it ends, with a renewed barrage of rockets—ordered by stiff-backed men far away from the trenches—drowning out the carols.

But there are other battles being waged much closer to us this season where a little night music might help quell the temptation to savage one another—even across the dinner table. 

I can imagine how many Christmas parties will settle down to drinks and coffee and devolve into a discussion of the Israel-Hamas conflict, and explode quickly into partisan debate over proportionality, Biblical prophecy, Hiroshima, the Holocaust, Vietnam, Zionism, British colonialism, Arab nationalism, Munich, Entebbe, Eichmann, George Soros, anti-Semitism, Netanyahu, 9/11, and the Yom Kippur War (have I missed anything?). Half the world away from the frontlines, I haven’t seen an issue divide Filipinos—at least those who keep abreast of the news—so sharply as this one, which has become a kind of litmus test of one’s faith or humanity.

Much of that acrimony has, of course, been enabled by the Internet and the ease it provides for instant (often unthought) response—a habit we’ve ported over, perhaps unconsciously, into our daily lives.

Against this backdrop, music is a call to order, a shaping of emotions across a roomful of rampant urges, longings, and resentments. We can choose but not control it; the best response to music is one of sublime submission, from which experience we emerge refreshed and ready to be human again. 

A meaningful and peaceful Christmas to us all!

(Image from economist.com)