One to watch out for on BBC One and BBC Four

The BBC’s Easter programming will include a two-part programme titled “Painting the Holy Land” presented by Scottish artist Lachlan Goudie.

Episode one will be shown on BBC One on Friday, March 30th and on BBC Four on Sunday, April 1st.

“In the first episode, Lachlan follows Jesus’s last days on earth, travelling from the north of what is now Israel to Jerusalem. It’s a pilgrimage that millions undertake and a story of love and suffering that has inspired some of the world’s most remarkable masterpieces. […]

Along the way, in a series of surprising encounters, Lachlan meets locals who have their own take on daily life in the Holy Land. This is personal odyssey for Lachlan, exploring the places his father painted but never saw, rooted in the past but brimming with life in the present day.”

Episode two will be shown on BBC One on Sunday, April 1st and on BBC Four on Monday, April 2nd.

“Lachlan Goudie traces the story of Mary through the gospels with a personal question – why is the life of the Mother of God barely described in the Bible, but so well-represented in art?

He looks at her role in the story of the Resurrection and the subsequent events up to Pentecost, fifty days after Easter. In Nazareth he visits the well where legend states the teenage Mary was visited by the angel Gabriel, and at one of seventeen Churches of the Annunciation sees the wealth of imagery that has helped secure for Mary a place in the hearts of the faithful. In Bethlehem, the birthplace of Christ, now in a grotto beneath the Church of the Nativity, he watches and draws pilgrims from all over the world. […]

During this journey Lachlan discovers that Mary and her miraculous story are inspiring not just to Christians. Mary the Mother of Jesus is a major figure to Muslims, the only woman named in the Koran.”

Clips from the second programme can be seen here and here.

 

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BBC R4’s Bethlehem crime fiction flunks accuracy and impartiality

A BBC Radio 4 series called ‘Foreign Bodies’ is described as follows:

“Mark Lawson examines how mystery novels reflect a country’s history and political system.”

The episode aired on March 4th (and to be rebroadcast on March 10th) is called “The Bethlehem Murders” and – despite the BBC’s style guide stating that “you should not affix the name ‘Palestine’ to Gaza or the West Bank” – it is described in the synopsis as: [emphasis added]

“Crime fiction set in Palestine. Omar Yussef, schoolteacher and amateur sleuth, tries to clear the name of his former student George, falsely accused of murder in their hometown of Bethlehem. […]

In The Bethlehem Murders, Yussef tries to save the life of his former student George Saba, a Christian recently returned to his home town of Bethlehem, who has fallen foul of a Palestinian militia group. In doing so, Yussef uncovers a world of corruption, cynicism and fear which makes him regret the passing of a time when Christians and Muslims lived peacefully side by side.”

That drama – like another one scheduled for broadcast next week – is based on a novel written by a former Time Magazine correspondent from Britain who was based in Jerusalem from 2000 – 2006.

“This is the second novel of the Palestinian Quartet series by Matt Rees to be dramatised for Radio 4 by Jennifer Howarth. Matt Rees draws on his experience as Time Magazine’s Jerusalem Bureau Chief to create detective stories which give us an insight into life in Palestine in the early 2000’s.” [emphasis added]

Given that latter claim, one would expect the backdrop to the drama to be accurate and impartial. BBC editorial guidelines relating to “factually based drama” state:

“When a drama portrays real people or events, it is inevitable that the creative realisation of some dramatic elements such as characterisation, dialogue and atmosphere may be fictional.  However, the portrayal should be based on a substantial and well-sourced body of evidence whenever practicable and we should ensure it does not distort the known facts, including chronology, unduly.”

Editorial guidelines on impartiality in Drama, Entertainment and Culture state: 

“A drama where a view of ‘controversial subjects’ is central to its purpose, must be clearly signposted to our audience.  Its excellence and insights must justify the platform offered.  It may be appropriate to offer alternative views in other connected and signposted output.”

‘The Bethlehem Murders’ opens with a monologue by the main character and narrator.

“Allow me to introduce myself. My name is Omar Yussef and I’m a teacher in the city of Bethlehem in Palestine. My family, my tribe, have been here nearly 60 years – ever since we were kicked out of our homelands at the point of a gun.” [emphasis added]

The character goes on to explain that “this story opens in 2001”.

“For nearly a year now we’ve been at war with Israel. We call it the second Intifada: the Palestinian uprising against the Israeli occupation.”

Audiences are not told that by the time the second Intifada began, Bethlehem had been under exclusive Palestinian Authority control for almost five years.

The main character goes on to introduce a secondary character, describing him as living in “Beit Jala – a Palestinian Christian town just south of Bethlehem”.

Beit Jala is of course located to the north of Bethlehem.

The drama includes numerous additional issues of accuracy, impartiality and omission. While central figures in the story belong to what are described as “the Martyrs Brigades”, audiences are not informed that that terror group belongs to the ruling political party Fatah. Terrorists are repeatedly portrayed as “freedom fighters” while audiences are told that Israel “bulldozes the houses” of Palestinians who “won’t collaborate”. Israeli forces entering Bethlehem after a suicide bombing in Jerusalem are portrayed as “here to take revenge”.

Even the image chosen to illustrate the drama’s webpage lacks accuracy. A person presumably intended to represent the main character is shown against the background of a section of the anti-terrorist fence. The fence is not even mentioned in the story itself and the obvious explanation for that is that the drama is set in 2001 and construction of the fence did not commence until July 2003, when the first section was built many miles to the north of Bethlehem. Nevertheless, the BBC selected that anachronistic image to illustrate this programme.

Obviously the BBC’s claim that this radio drama gives audiences “an insight into life in Palestine in the early 2000’s” is unfortunately diminished by such accuracy and impartiality failures.

Related Articles:

Stone-Throwing Chic at Time Magazine   (CAMERA)

Time Magazine’s One-Sided Feature on Palestinians (CAMERA)

BBC amends style-guide breach in R4 synopsis

 

Radio 4 programme synopsis breaches BBC’s own style guide

h/t EM

The BBC Academy’s “journalists’ guide to facts and terminology” – published on the recommendation of the BBC Governors’ independent panel report on the impartiality of BBC coverage of the Israeli-Palestinian conflict in 2006 – instructs the corporation’s staff not to use the term Palestine except in very specific circumstances.

“There is no independent state of Palestine today, although the stated goal of the peace process is to establish a state of Palestine alongside a state of Israel.

In November 2012 the PLO secured a vote at the UN General Assembly, upgrading its previous status as an “entity” so that the UN now recognises the territories as “non-member observer state”.

The change allows the Palestinians to participate in UN General Assembly debates. It also improves the Palestinians’ chances of joining UN agencies.

But the UN vote has not created a state of Palestine (rather, it failed in its bid to join the UN as a full member state in 2011 because of a lack of support in the Security Council).

So, in day-to-day coverage of the Middle East you should not affix the name ‘Palestine’ to Gaza or the West Bank – rather, it is still an aspiration or an historical entity.

But clearly BBC journalists should reflect the changed circumstances when reporting on the UN itself and at the Olympics, where the International Olympics Committee recognises Palestine as a competing nation.

Best practice is to use the term Palestine firmly and only in the context of the organisation in which it is applicable, just as the BBC did at the Olympics – for example: “At the UN, representatives of Palestine, which has non-member observer status…”” [emphasis added]

In the past we have seen that guidance ignored on several occasions and in recent months, more frequently.

On December 27th BBC Radio 4 twice aired an edition of the programme ‘Soul Music’ relating to Bob Marley’s ‘Redemption Song’. In the synopsis to that programme, BBC audiences were told that:

“For Grammy Award Winning artist John Legend, it’s become an anthem for addressing the criminal justice system of America whilst in Palestine, for ‘Musicians without Borders’ practitioner Ahmed al ‘Azzeh it’s a song that inspires him to work towards a better life.” [emphasis added]

Listeners to this programme about a song heard the following unrelated context-free politicised statements (from 06:17 here) from Ahmed al ‘Azzeh:

“My name is Ahmed al Azzar and I am a Palestinian refugee [who] lives in Bethlehem in the smallest camp. It’s about 200 meters length by 150 meters, where 2,000 people lives there. It is not as anyone would wish to live in.”

Listeners are of course not told that the Beit Jibrin (Azza) camp is located in Area A and has been under the full control of the Palestinian Authority for the past twenty-two years. Neither are they encouraged to ponder the question of why, after over two decades, the PA still keeps part of its population in such camps or why refugee status is inherited by Palestinians. Ahmed al Azzar’s record as a professional activist with an anti-Israel political NGO is not revealed to listeners.

In other words, in a programme supposedly about music, BBC Radio 4 audiences were given a dose of context-free political messaging from a selected interviewee and a geographical description that breaches BBC guidance.

The BBC’s Christmas message: Trump ruined it – part two

h/t RB

As we saw in part one of this post the BBC’s Christmas reporting from Bethlehem presented a uniform portrayal of diminished numbers of visitors to the city that was attributed exclusively to “increased tensions between Palestinians and the Israeli army since US President Donald Trump recognised Jerusalem as the capital of Israel”.

BBC World Service radio listeners were not spared politicised messaging either. The December 24th edition of ‘The Newsroom’ opened with an item about Christmas celebrations in Bethlehem (from 00:06 here) in which listeners were told by presenter Jackie Leonard that the Patriarch of Jerusalem “reached Bethlehem after being driven through a checkpoint at the Israeli separation barrier”. Leonard went on:

Leonard: “Marwan Kattan runs the five-star Jacir Palace Hotel in Bethlehem. He says bookings have plummeted after the United States recognition of Jerusalem as the capital of Israel sparked violence in the occupied West Bank.”

Kattan: “Every year we are fully booked in Christmas and the New Year. This year we have it; before it was over-booking but when the uprising started, everything cancelled. What he said; uprising started; we lose everything.”

Reporting from Bethlehem, the Jerusalem bureau’s Tom Bateman then told listeners that:

Bateman: “…there is of course the backdrop of growing hostility and, you know, on a near daily basis now ever since Donald Trump’s announcement on Jerusalem we’ve had clashes between Israeli troops and Palestinians, not least here in the West Bank, here in Bethlehem and also on the Gaza border and that diplomatic stand-off between the Palestinian leadership and the United States.”

However, Jackie Leonard then went on to allude to information concerning tourism previously undisclosed to BBC audiences and the conversation began to go somewhat off message.

Leonard: “Now we’ve heard from the Israeli tourism ministry saying that they expect to see the number of Christian pilgrims increase. What are you seeing with tourist numbers?”

Bateman: “Well certainly tourism, the tourist economy in Bethlehem has taken a severe dent over the last ten days or so. I was talking to a hotelier last night who said that many hotels had really been emptied after the Trump announcement. Now a lot of that was the domestic tourists – the Palestinian Christians both from the West Bank and also Palestinians from inside Israel who traditionally come here often in the week before Christmas and many of these simply cancelled and didn’t come.

As for international tourists, well many have been here today. I mean I was talking to some Irish pilgrims from Dublin a little earlier on. Having said that, some of the religious leaders have said that groups have been cancelling and I think there is no doubt that the tourism economy in Bethlehem has suffered. But as you say, I mean, overall, more broadly, the Israelis have made the point that, you know, the number of Christian pilgrims coming to the holy land overall has risen by a significant amount when you compare it to the years before.”

Leonard then asked Bateman about security at the Christmas events in Bethlehem and his answer included the following:

Bateman: “In terms of the clashes that have taken place, well, they haven’t been to the scale that many had feared or predicted after Donald Trump’s announcement but they have taken place on a regular basis. They do tend to be very localised and in areas that are quite predictable so, you know, tourists can avoid, really, with a fair amount of ease. But I think what it has affected, of course, is the mood.”

As we see, Tom Bateman knows that the response to calls for violence instigated and encouraged by Palestinian bodies has been limited and that tourists can in fact easily avoid problematic locations. He did not, however, bother to inform BBC audiences of an additional and relevant part of the picture: the fact that Palestinian officials ordered limitations on the Christmas festivities.

“Church and political officials in Bethlehem and Gaza canceled all non-religious Christmas celebrations in protest over the recent decision by US President Donald Trump to recognize Jerusalem as the capital of Israel.

“We decided to limit the Christmas celebrations to the religious rituals as an expression of rejection and anger and sympathy with the victims who fell in the recent protests,” said Bethlehem’s mayor, Anton Salman. […]

Christmas celebrations were restricted to religious rituals across the Palestinian territories in protest, the official Palestine TV reported Monday.”

Although that deliberate cancelling of festivities (along with a similar – but failed – attempt by the mayor of Nazareth) could obviously account for some cancellations by tourists, the BBC is clearly not interested in letting its audiences know that just as Palestinian officials jeopardised Christmas tourism by calling for violence and bloodshed in response to the US announcement concerning Jerusalem, they have also given tourists much less of a reason to visit Bethlehem by cancelling parts of the festivities.

Just as the BBC never portrays Palestinians as having agency or being responsible for the violence they choose to instigate, the corporation’s narrative does not include own goal political posturing by Palestinian leaders which harms the tourist industry upon which many Bethlehem residents rely.

Instead, as we see in these BBC Christmas reports from Bethlehem, the narrative the corporation has chosen to promote once again lays the blame at the door of any party other than the Palestinians themselves and this year the BBC has chosen to uniformly promote simplistic and politically motivated messaging blaming the US president for the results of choices made by Palestinian leaders.  

Related Articles:

The BBC’s Christmas message: Trump ruined it – part one

Documenting five years of BBC politicisation of Christmas

Palestinian falsehoods on Christianity amplified by BBC’s Plett Usher

The BBC, violence and promotion of linkage – part one

The BBC, violence and promotion of linkage – part two

 

 

The BBC’s Christmas message: Trump ruined it – part one

As documented here earlier this month, the BBC began telling its audiences that the US president had ruined Christmas for Palestinians just hours after his announcement recognising Jerusalem as the capital of Israel was made on December 6th.

At the same time, multiple BBC platforms promoted copious numbers of reports and news bulletins claiming that the US statement would spark violent reactions that were portrayed as being inexorable and irresistible. When reporting on rioting and other acts of violence, including missile fire at civilian communities in Israel, the BBC made sure that audiences were told that ‘reason’ for the violence was Donald Trump’s announcement – rather than the choices made by the people who chose to engage in such acts of violence. 

Two and a half weeks later, we see that the BBC is still perpetuating those themes in its Christmas reporting from Bethlehem.

Listeners to the December 24th edition of the BBC Radio 4 religious affairs programme ‘Sunday‘ heard a report from the Jerusalem bureau correspondent Yolande Knell (from 14:47 here) that was introduced by presenter Edward Stourton with a dollop of political messaging.

Stourton: “Later this morning the head of the Latin Catholic church in Jerusalem will, in accordance with tradition, set off on a journey to Bethlehem where he’ll celebrate midnight mass tonight. Bur these days the route means he’ll have to go through Israel’s West Bank separation barrier: a reminder that even at Christmas the politics of the place aren’t far away.”

Yolande Knell told listeners that:

Knell: “Santa hat sellers are out in force and all around me there’s a riot of multi-coloured lights. But something is missing: the tourists. Many have cancelled their planned visits here in just the past few weeks because of growing unrest. There have been days of clashes by an Israeli military watchtower built into the high wall at the edge of Bethlehem: part of Israel’s separation barrier. Young Palestinians throw stones and Israeli soldiers fire tear gas. Similar scenes have unfolded at other flashpoints across the West Bank.

While Israel welcomed Donald Trump’s decision to recognise Jerusalem as its capital, saying this reflected Jewish history and the modern reality, Palestinians are furious. They want occupied East Jerusalem to be the capital of their promised future state and say the US has disqualified itself as a mediator for peace talks.

[sound of church bells] Back by the Nativity Church I’ve been talking to local Christians. One woman spoke of her frustration after her son and his family – who live overseas – decided at the last minute not to come home for Christmas, fearing trouble. And a hotelier complained that Bethlehem got all dressed up for Christmas and all of a sudden the streets are empty.”

In a filmed report that appeared on the BBC News website on December 24th under the title “Bethlehem celebrates Christmas amid heightened tensions” Jerusalem bureau correspondent Tom Bateman told audiences:

Bateman: “Well the crowds have turned out in their hundreds for the day but the numbers are much lighter than in previous years. And that’s because tourism has taken a severe dent here because of fears over clashes that have taken place in the last few weeks in the occupied West Bank ever since Donald Trump announced that the US officially recognised Jerusalem as the capital of Israel.”

The synopsis to another filmed report – “Bethlehem Christmas: Church of the Nativity hosts pilgrims” – posted in the early hours of December 25th tells BBC audiences that:

“Fewer people than usual were in the West Bank town because of increased tensions between Palestinians and the Israeli army since US President Donald Trump recognised Jerusalem as the capital of Israel.”

Interestingly, BBC Christmas reporting from Bethlehem has in previous years also included comment on the number of tourists visiting the town. BBC audiences have repeatedly been told sad tales of dwindling crowds that have been attributed to a variety of (inevitably Israel related) factors.

For example, in 2012 BBC audiences heard that:

“We understand around 70,000 people will have visited Bethlehem by the end of the day – those numbers actually down on last year, we think, by around 40,000 or so. So some concerns about the economy and tourism here…” 

“And Christmas is also big business here – or it should be. But this year not everyone is buying. The Palestinian economy is struggling.”

“Actually Bethlehem is not doing well economically. It suffers from a high rate of unemployment, suffers from the occupation.”

In 2015 BBC audiences were told of “dampened” celebrations that were attributed to a wave of Palestinian terrorism that was portrayed by the BBC in euphemistic language – with no mention of the Palestinian Authority’s instructions to limit celebrations.

“Celebrations are taking place in the West Bank town where it is believed that Jesus was born. However this year they are overshadowed by the latest Israeli-Palestinian violence that shows no signs of abating. […] Like many Palestinian Christians, Mary thinks the holiday spirit is dampened this year and that festivities will be relatively low-key.”

And:

“Even as visitor numbers continue to dwindle Christmas upon Christmas, this year the reason is pretty clear: the tensions that have washed over Israel and the occupied territories show no sign of abating.”

However this year it’s not ‘the occupation’, ‘the wall’ or ambiguous ‘tensions’ that have caused allegedly low numbers of visitors to Bethlehem at Christmas: this year the BBC has decided that the blame should be laid at the door of Donald Trump.  

However, one BBC programme went a little off message– as we will see in part two of this post.

Related Articles:

Documenting five years of BBC politicisation of Christmas

Palestinian falsehoods on Christianity amplified by BBC’s Plett Usher

The BBC, violence and promotion of linkage – part one

The BBC, violence and promotion of linkage – part two

 

 

Political narrative and inaccuracy in BBC Two’s ‘Alternativity’ – part two

As we saw in part one of this post, much of the first half of the BBC Two commissioned ‘documentary’ titled ‘Alternativity’ which was aired on December 17th presented audiences with an overwhelmingly one-sided portrayal of Israel’s anti-terrorist fence.

The only explanation of why the structure had to be constructed came nearly a quarter of the way into the programme in the grand total of twenty-seven words from Danny Boyle. Viewers saw no images of any of the dozens of suicide bombings which brought about public demand for that counter-terrorism measure and did not hear from even one Israeli whose life was affected by Palestinian terrorism.

That first part of the programme also focused on the Bethlehem area, although interestingly – given the film’s declared subject matter – the problems facing Christians in that city and the sharp decline in their numbers since the PA took control of Bethlehem were not among the topics addressed. At 22:07 narrator Olivia Colman set the scene as Danny Boyle was taken to another location.

Colman: “Bethlehem has the largest Christian population in the occupied Palestinian territories. But the nativity isn’t just a Christian story and Danny’s nativity needs to be relevant to all so he’s visiting the mainly Muslim city of Hebron. Peace talks in the mid ’90s carved the West Bank up into areas A, B and C under Palestinian, combined and Israeli control respectively. But Hebron is especially contested with Jewish settlers occupying specific streets and sometimes specific houses. Here, the heavily defended settlers come and go as they please. But Danny’s guides – Fadi, a Christian and Saeed, a Muslim – are both Palestinians. And neither of them are allowed into the parts of Hebron claimed by the settlers.”

Obviously no viewer lacking background knowledge on Hebron (i.e. the majority) would understand from that ‘explanation’ that the agreement concerning that city signed by Israel and the Palestinians almost twenty-one years ago divided it into two parts: H1 – under Palestinian control – and the smaller H2 – under Israeli control. Not only does this programme fail to explain that the presence of Jews in Hebron is the result of that agreement, but the history of Jews in Hebron – including the fateful 1929 pogrom by Arabs – is completely erased.

At 23:15 viewers see Boyle on a street in H2 on what we later learn is Shabbat – Saturday.

Boyle: “It’s like a ghost town, isn’t it? It’s like a Western, isn’t it? It’s like a showdown or something. It’s crazy to think like that but it makes you feel like that, doesn’t it?”

Having later come across a family out walking, Boyle – clearly no firearms expert – tells viewers:

Boyle: “So that’s extraordinary to see a man out walking peacefully on the Sabbath with his wife and his child in a buggy and he’s got a AK47 [sic] or whatever the machine gun [sic] is…it’s a machine gun [sic]. So his statement that he’s making about what he expects to find, to protect his family – which is a natural instinct – is terrifying really.”

Boyle does not however bother to give viewers any idea of the scale of terror attacks in that area either in the past or in recent months. Standing on Emek Hevron street, Boyle then (22:40) presents pure conjecture as ‘fact’.

Boyle: “And the Star of David on the doorways which is declaring that obviously the…that in these circumstances, declaring that this is…this will become a settlement home…is shockingly reminiscent of something we all…one of the worst horrors of the world. That’s a bit mind-boggling.”

BBC Watch contacted a resident of that area and was informed that the Stars of David painted on those buildings are actually graffiti painted by unknown parties. Additional examples of graffiti on the same street can be seen in the photographs here on the right. 

The doorways mentioned by Boyle are in fact entrances to small Arab market shops that were closed during the second Intifada due to Palestinian violence. Not only are those shops unsuitable for conversion into “a settlement home” – they have never even been considered for that purpose.

As we see, therefore, Danny Boyle – who earlier on in the programme admitted that the nearest he had previously ever been to the region was Majorca – has (presumably with a bit of help from his ‘guides’) let his imagination run wild – and presented his own uninformed assumptions as fact.

Moreover, he appears to be making an oblique reference to Nazi confiscation of Jewish property – an analogy that would be considered antisemitic according to the IHRA working definition adopted by the British government.

Again failing to provide crucial context, the narrator subsequently tells viewers that: “Not all of Hebron has been settled”.

Later on in the film viewers see footage of preparations for the Balfour Declaration centenary ‘street party’ at the Walled Off hotel that was generously covered by the BBC at the time. That segment includes the following statement from the hotel manager:

Salsaa: “This [the Balfour Declaration] is the origin of the modern conflict in the Middle East. Millions became refugees, thousands died and hundreds of thousands suffered because of this.”

At 33:11 the narrator tells viewers that:

Colman: “Most Jewish settlers live in fortified settlements accessible by Israeli-only roads.”

That claim is of course inaccurate and misleading: there are no restrictions whatsoever on the roads leading to the vast majority of communities in Judea and Samaria. She goes on:

Colman: “There are virtually no Jewish people in Bethlehem and Israeli citizens are warned that entering any part of the city is dangerous.”

Boyle then further displays the level of his ‘regional expertise’, telling BBC Two viewers (33:31) that Israelis and Palestinians are “the same nation”.

Boyle: “It’s very difficult, clearly. Certainly I think that one of Banksy’s purposes is to try and illuminate that actually, although this is the same nation, the chances to interact are reduced so enormously by this wall and everything that comes with this wall. So that kind of division means that it’s very, very difficult to get Israelis to come and visit openly and certainly obviously to speak on camera about it. So that’s a big, big problem that we have.”

Needless to say, that problem was not overcome: viewers of this hour-long programme did not hear even one Israeli view.

In a segment of the film about the children participating in the nativity play (in which it is implied that parents might not want their children to take part because of the ‘risk’ of them being shot by the IDF), viewers see a seven year-old child presented only as Sofia and are told that “her father got arrested two days ago”. The narrator then informs BBC audiences (43:07) that all of Israel is “occupied” land and reinforces the previously promoted inaccurate notion that ‘millions’ of Palestinians became refugees in 1948.

Colman: “Over a million Palestinians live in camps which they were settled in when their lands were occupied after 1948. It’s been alleged that Sofia’s father leads the Popular Front for the Liberation of Palestine in the Dheisheh camp where her family lives.”

Viewers are not informed that the PFLP is a terrorist organisation and although Sofia’s mother is seen giving her tearful account of her husband’s arrest and the story is promoted again later in the film, the mother is not named and so the story remains unverifiable.

It is blatantly obvious that the aim of this BBC commissioned film was not – as BBC Two’s controller claimed in the PR – to present “a challenging and provocative exploration” of the nativity story. Rather, the seasonally relevant topic of Christmas was merely a hook upon which to hang an hour of serially inaccurate and politically biased amplification of an anti-Israel narrative, made all the more attractive to British audiences by the inclusion of ‘national treasure’ names such as Banksy, Olivia Colman and Danny Boyle.

The methodology behind this film can in fact be summed up by one of its scenes (from 34:15) in which an unnamed woman with a British accent who is helping organise Banksy’s Balfour Declaration ‘street party’ agitprop tells the camera that:

“The global news outlets will pick this up a) because it’s Banksy b) because it’s Palestine. People love stunts. They love big, brash stunts. They love it!”

And indeed a big, brash star-studded stunt is exactly what the BBC’s funding public paid for in this BBC collaboration with the agitprop of an anonymous political activist. What they did not get, however, was anything resembling an accurate and impartial programme that would contribute to their understanding of the complex topics that are the components of this story – including that of the issues facing Christians living under Palestinian Authority rule.

Related Articles:

Political narrative and inaccuracy in BBC Two’s ‘Alternativity’ – part one

A BBC Two commission and the politicisation of Christmas

Documenting five years of BBC politicisation of Christmas

More Balfour Declaration agitprop promotion on the BBC News website

Multiplatform BBC amplification for anti-Israel ‘political statement’ PR campaign

BBC inaccurately promotes Banksy propaganda as a ‘documentary’

Political narrative and inaccuracy in BBC Two’s ‘Alternativity’ – part one

As may have been expected, the BBC Two commissioned programme ‘Alternativity’ that was aired on December 17th did not – as claimed by the station’s controller Patrick Holland – present “a challenging and provocative exploration” of the nativity story at all. Rather, most of that hour-long programme was devoted to context-lite, one-sided political messaging promoted primarily by both its narrator (actress Olivia Colman) and its main character Danny Boyle.

The real ‘star’ of this exercise in the manipulation of Christmas was however the anti-terrorist fence – and although well over 90% of that structure is built of wire mesh, viewers were never informed of that fact and only saw images of the sections constructed from concrete.

The film opens with a description of its main location – Bethlehem – which has of course been under complete Palestinian Authority control for the last 22 years: a fact that was erased from the entire programme. [emphasis in bold added, emphasis in italics in the original]

Colman: “This is Bethlehem: world capital of the international Jesus Christ birthday business. This year Bethlehem became home to a unique hotel. Billed as having the worst view in the world, Banksy’s Walled Off Hotel sits under the gaze of an Israeli watchtower in the occupied Palestinian territories. The place where Christmas was invented now feels like a city under siege and in need of some serious festive cheer. This is the story of what happened when Banksy asked a world-famous movie director to come all the way to the little town of Bethlehem to put on a nativity play like no other in what was once the most Christmassy place on earth.”

A siege is defined as “a military operation in which enemy forces surround a town or building, cutting off essential supplies, with the aim of compelling those inside to surrender”. Bethlehem of course does not fit that definition. As we see, the BBC commissioned programme uses the term “occupied Palestinian territories” to describe an area that has been under complete PA control for over two decades.

Later on (04:56) that term is also used to describe areas that – under the terms of the Oslo Accords – the status of which is to be determined through negotiation and are therefore not at this time “Palestinian”.

Colman: “There are no international airports in the West Bank. Tourists fly to Tel Aviv in Israel. From there, Bethlehem is only an hour away by car. But the journey means crossing through a 400 mile long heavily fortified separation barrier into the occupied Palestinian territories. Inside this enclosed region movement is restricted. And most Palestinians are not allowed to leave without permits. It’s a small step for Danny but a huge leap into a very different reality.”

The messaging is reinforced by Boyle’s own comments.

Boyle: “And there’s the wall. Wow! Yeah. Look at that.” […] “Wow! Look at the wall. The wall’s extraordinary, isn’t it? You’ve no idea how…they’re like kind of…it’s like nails driven into the ground. It’s like…you just imagine something different really. It’s so crude and brutal.”

From 11:46 viewers hear the narrator introduce another scene.

Colman: “Fadi – a local guide – is taking Danny to experience Bethlehem’s version of the rush hour at 5 a.m. when thousands of labourers queue to get to work on the other side in Israel.”

She subsequently (12:20) promotes several highly partisan and questionable claims:

Colman: “The separation barrier and the Israeli occupation of Palestinian land have sliced through communities, separating neighbours. Thousands have been imprisoned for refusing to leave their land and although the exact boundaries are hotly disputed, many have been evicted and are now on black-lists banning them from entering Israel, meaning they are unable to travel for work. One of these is Amin. Imprisoned as a teenager, he now makes his living selling refreshments to the workers.”

Viewers then hear an unverifiable account from a person identified as Amin Jebrein but are not told that gates in the anti-terrorist fence allow farmers access to their crops, that land owners receive compensation for any land used for the fence’s construction or that they have the legal right of appeal.

Jebrein: “They came to my land and they put a fence before my land and they take all my land inside the wall. They take me to the prison and I stay for one year because I am terrorist because I fight them, you know. And I lost my land, lost my life, lost my study. But I hope next year when you come that this will have gone>”

Boyle: “No wall”.

Jeberin: “Inshallah.”

Boyle: “Inshallah.”

Boyle goes on:

Boyle: “You can see the guys going to work. You know, it’s almost like their heads were down so they didn’t see the indignity they were having to go through to pass through this thing.”

Viewers then see Boyle compare the anti-terrorist fence to the Berlin Wall, claiming that it is “double the height” and “so tall compared to that” but with no mention made of the fact that the height of the concrete sections is specifically intended to thwart sniper attacks.

Only nearly a quarter of a way into this programme (at 14:24) and long after the scene has already been amply set, do viewers hear the first – and last – brief mention of why the anti-terrorist fence had to be built.

Boyle: “Obviously reading history and the background, obviously the wall was a response to suicide bombings and shocking acts of terror, really, where innocent people were blown up and a nation clearly reacts in an incredibly aggressive and dominant way to a force that they feel threatens them. So I can understand – although I personally don’t…it’s not a solution that I think works ultimately – nor as I think it is a solution that is fair for any nation to impose upon itself or a community within itself. I find that very, very, very difficult.”

Referring to the part of the nativity story in which Joseph has to go to Bethlehem for a census, Boyle then compares that journey to those of the Palestinian workers just featured, making no mention of Joseph’s religion and ethnicity or the fact that Bethlehem was a Jewish town at the time.

At 17:24 viewers hear an inaccurate – and contradictory – statement:

Colman: “The Church of the Nativity [in Bethlehem] might be cut off from the world by walls and watchtowers but it still gets over a million tourists a year.”

Later on (20:45) another entirely unsupported and evidence free claim is made:

Colman: “The olive tree is hugely important to Palestinian culture but thousands of families have seen their olive groves enclosed by the wall and uprooted.”

The programme’s focus then turns to another location and that will be discussed in part two of this post.

Related Articles:

A BBC Two commission and the politicisation of Christmas

Documenting five years of BBC politicisation of Christmas

More Balfour Declaration agitprop promotion on the BBC News website

Multiplatform BBC amplification for anti-Israel ‘political statement’ PR campaign

BBC inaccurately promotes Banksy propaganda as a ‘documentary’

A BBC Two commission and the politicisation of Christmas

h/t LV, BF

Over the years we have often seen BBC produced content in which the Christmas season was exploited for the promotion of a chosen politicised narrative and this year, it transpires, will be no exception.

On December 17th at 21:00 BBC Two will screen an hour-long programme titled “Alternativity” which combines the Christmas theme with a much promoted BBC favourite – Banksy.

“This exciting arts documentary film offers an alternative take on the nativity story. The unique, hour-long film follows the production of a contemporary one-off performance of the nativity play quite unlike any other.”

The BBC News website informs us that:

“Director Danny Boyle has teamed up with Banksy to stage an alternative nativity play at the artist’s Bethlehem hotel.

The Alternativity was staged in the car park of the artist’s Walled Off Hotel in the occupied West Bank. The process was filmed for a BBC Two documentary. […]

BBC Two controller Patrick Holland said the programme would show “a challenging and provocative” version of the story. […]

Patrick Holland said: “It is brilliant for BBC Two to be working with Danny Boyle, Banksy and the creative team who together are making this alternative nativity.

“It promises to be a challenging and provocative exploration of a story that speaks to young and old alike.””

Readers are also told that:

“Banksy created a promotional image for the documentary showing a drone watching over the nativity scene.

He also put up two new artworks ahead of the event. One said “Peace on Earth” next to a twinkling star, which doubled as an asterisk. Below was the same asterisk and the words “Terms and conditions apply”.

The other artwork was painted on the wall and showed two cherubic angels trying to prise two panels apart with a crowbar.”

The article employs a formula frequently evident in BBC content: the anti-terrorist fence – constructed after hundreds of Israelis were murdered by Palestinian suicide bombers – is described as “controversial”, but no mention whatsoever is made of the terrorism that caused it to be built.

“The anonymous street artist opened The Walled Off Hotel in March, boasting the “worst view in the world” – next to the controversial barrier Israel has built in and around the West Bank.”

While in the past we have witnessed the BBC repeatedly providing uncritical PR for Banksy’s anti-Israel agitprop, we now see that the corporation has elected to take an active role in the promotion of such politically motivated propaganda by using licence fee funding to commission this ‘documentary’.  

Can readers recall any other examples of public funds being used by the ‘impartial’ BBC to amplify a political activist’s delegitimisation of a particular country?

Related Articles:

Documenting five years of BBC politicisation of Christmas

More Balfour Declaration agitprop promotion on the BBC News website

Multiplatform BBC amplification for anti-Israel ‘political statement’ PR campaign

BBC inaccurately promotes Banksy propaganda as a ‘documentary’

More Balfour Declaration agitprop promotion on the BBC News website

Those familiar with the BBC’s record of promoting the recurrent anti-Israel propaganda produced by the anonymous English political activist known as Banksy would not have been in the least bit surprised to find two reports – one written and one filmed – concerning his latest ‘creation’ on the BBC News website’s Middle East page.

On November 1st the website published a written report titled “Balfour Declaration: Banksy holds ‘apology’ party for Palestinians” which opens by telling readers that a location that has been under full control of the Palestinian Authority since 1995 is ‘occupied’ by Israel.

“The British artist Banksy has organised a “street party” in the occupied West Bank to apologise for the Balfour Declaration, ahead of its centenary.”

Readers were also told that the anti-terrorist fence – constructed in order to protect Israeli citizens from Palestinian suicide bombers – is “controversial”.

“An actor dressed as Queen Elizabeth II hosted dozens of children at the event.

She also unveiled a new work by Banksy etched into Israel’s controversial West Bank barrier that said: “Er… Sorry.””

Unsurprisingly, readers were not informed why ‘refugee camps’ (in this case Aida and Dheisheh) still exist over two decades after the PA assumed control of the area.

“Banksy’s tea party in Bethlehem on Wednesday was attended by children from nearby Palestinian refugee camps.”

Readers found a statement from the event’s initiator that echoes a mythical quote used by anti-Israel activists which has previously been seen in BBC content.

“A statement by Banksy said: “This conflict has brought so much suffering to people on all sides. It didn’t feel appropriate to ‘celebrate’ the British role in it.”

“The British didn’t handle things well here – when you organise a wedding, it’s best to make sure the bride isn’t already married.””

The BBC’s portrayal of the Balfour Declaration erased from audience view the part safeguarding “the rights and political status enjoyed by Jews in any other country”.

“The British government’s pledge, on 2 November 1917, was made in a letter by the then Foreign Secretary Arthur Balfour to Lord Walter Rothschild, a leader of the British Jewish community.

It said the government viewed “with favour the establishment in Palestine of a national home for the Jewish people”, so long as it did not “prejudice the civil and religious rights of existing non-Jewish communities”.”

Readers were inaccurately informed that the League of Nations mandate administered by the British “expired” rather than being terminated by the British government. The fact that the armed forces of five Arab countries invaded Israel the day after independence was declared was airbrushed from the BBC’s account, as was the fact that a considerable number of the Palestinian Arabs who left their homes did so on the advice of Arab leaders.

“The Mandate expired on 14 May 1948 and the Jewish leadership in Palestine declared an independent Israeli state. In the Arab-Israeli war which followed, hundreds of thousands of Palestinian Arabs fled or were forced from their homes.”

In all, six of the article’s eighteen paragraphs promoted the PLO/PA’s chosen narrative on the subject of the Balfour Declaration.

“The Balfour Declaration expressed the British government’s support for a Jewish national home in Palestine, paving the way for Israel’s creation.

Israel and Jewish communities view the pledge as momentous, while Palestinians regard it as an historical injustice.” […]

“Palestinians, who see the Balfour Declaration as something that caused decades of suffering and deprived them of their own state on land that became Israel, have called for an apology from the UK ahead of the centenary.”

Readers were not informed that the Palestinians and their Arab patrons rejected the opportunity to have “their own state” on numerous occasions.  

A further three paragraphs were devoted to uncritical amplification – including a link – of a Guardian op-ed by Mahmoud Abbas and without any clarification on the part of the BBC that, in contrast to Abbas’ implication, the Balfour Declaration referred to “the civil and religious rights” – not political – of “existing non-Jewish communities in Palestine”.  

“Palestinian Authority President Mahmoud Abbas wrote in the Guardian newspaper on Wednesday that the act of signing the letter was not something that could be changed, but that it was something that could be “made right”.

“This will require humility and courage. It will require coming to terms with the past, recognising mistakes, and taking concrete steps to correct those mistakes.”

Mr Abbas said recognising a Palestinian state within the boundaries between Israel and East Jerusalem and the West Bank which existed before the 1967 Middle East war, and with East Jerusalem as its capital, could “go some way towards fulfilling the political rights of the Palestinian people”.”

The filmed report on the same story – titled “‘Er… Sorry’: Banksy’s new West Bank work” – appeared on the BBC News website’s Middle East page on November 2nd and once again BBC audiences were told that a location that has been under complete PA control for over two decades is ‘occupied’.

“A new Banksy work in Bethlehem has been unveiled by an actor dressed as the Queen in the Israeli-occupied West Bank. Banksy’s tongue-in-cheek British street party took aim at the British and Israeli governments. They’ve been marking 100 years since the Balfour Declaration – the UK’s promise of a homeland for Jewish people in Palestine.”

The Balfour Declaration of course refers to “a national home for the Jewish people”.

The film went on to once again promote the organiser’s use of a theme derived from a mythical quote.

“The British didn’t handle things well here – when you organise a wedding, it’s best to make sure the bride isn’t already married.”

As viewers saw a man plant a Palestinian flag in a cake, they were told that:

“This was Palestinian activist Munther Amira’s contribution.”

Amira is in fact the director of the ‘Popular Struggle Coordination Committee’ and, according to some news reports, he was protesting the event rather than ‘contributing’ to it.

“People from the nearby Aida refugee camp said afterwards they objected to the way the event had used Palestinian children as the centrepiece of the performance. “We came because we didn’t like the use of the British flags or the way they were using Palestinian children,” said Munther Amira, a prominent activist from Aida who planted a large Palestinian flag in the middle of a cake.”

A clue to the nature of those objections can perhaps be found in the BBC’s written account of the event:

“Instead of paper party hats, they [the children] wore plastic helmets painted with the British flag and riddled with pretend bullet holes.” [emphasis added]

The filmed report closed:

“The British government calls the Balfour Declaration “unfinished business” saying it supports a two-state solution.”

Together with Tom Bateman’s filmed report, these two reports brought the number of items giving one-sided amplification to PA/PLO narrative promoting agitprop on the November 2nd edition of the BBC News website’s Middle East page to three.  

Related Articles:

BBC’s Bateman amplifies PLO’s Balfour agitprop

Mahmoud Abbas’s Guardian op-ed illustrates the dishonesty of the ‘Palestinian narrative’  (UK Media Watch) 

 

 

BBC reporting on Jerusalem violence low on background, high on messaging

On Friday July 21st pre-planned rioting took place in Jerusalem as well as at additional locations after yet another ‘Day of Rage’ had been called by Palestinian leaders. The BBC News website covered the day’s events in two reports – one written and one filmed.

The filmed report by Yolande Knell is titled “Clashes in Bethlehem over holy site” and its synopsis links to the written report, telling viewers that “[i]t follows tension over the place known to Muslims as the Haram al-Sharif, and to Jews as the Temple Mount”.

In the first part of that report Knell describes the Israeli security forces’ response to what she terms “protests”.

Knell: “Now those unusual prayers are turned into protests very quickly. Already there’s been skunk water fired – a very stinky liquid – by the soldiers. They’re using stun grenades and tear gas as well.”

After the caption “How did we get here?” appears on screen, the report then goes on to show footage apparently filmed some time earlier, with Knell telling BBC audiences that:

Knell: “Palestinian worshippers across the West Bank aren’t praying inside their mosques today but they’ve come outside. Here in Bethlehem they’re on the streets, under the hot sun with their prayer mats. And this is a very symbolically important location because just along there, that’s the road to Jerusalem and it’s now blocked by Israel’s separation wall. You can see the Israeli military watchtower that’s just over there.”

Knell refrains from informing viewers that the anti-terrorist fence (which of course has nothing at all to do with the story she is supposedly reporting) had to be constructed because of Palestinian terrorism. Her claim that the road to Jerusalem is “blocked” is misleading: the checkpoint there is open 24 hours a day. She then goes on to uncritically parrot Palestinian messaging.

Knell: “And the Friday sermon has been about the need to protect the al Aqsa mosque and the Dome of the Rock that lies in the same compound. There’s a model of it here. Palestinians see themselves very much as the guardians of these places – the third holiest site in Islam – and emotions are really running very high.”

Knell does not bother to clarify to viewers that there is in fact no need “to protect” the Muslim holy sites on Temple Mount at all before giving an unchallenged platform to an unidentified interviewee who is allowed on camera while wearing a t-shirt with a politicised image that erases Israel.

Man: “The Palestinians now took a decision to fight for their capital [sic], for their dignity. All the people who are coming here came to raise their voice. Jerusalem is a red line. We will not allow the occupation to pass this red line.”

Footage seen later in the video suggests that the unnamed man is one of the leaders/organisers of the unrest but seeing as the BBC did not bother to identify him, audiences are of course unable to make their own judgements concerning his “particular viewpoint” – not least the claim that Jerusalem, which is of course subject to final status negotiations, is the Palestinians’ “capital”.  

That video was also included in the BBC’s written report on the same events – currently titled “East Jerusalem: Palestinians killed as holy site tensions soar“. The earlier versions of that report correctly informed readers that a ‘Day of Rage’ had been called in advance but that information was removed from subsequent versions.

The article explains the background to its subject matter as follows:

“Hundreds were injured in the violence, after days of friction over a Jerusalem holy site boiled over. […]

Tensions have soared since two Israeli policemen were killed a week ago.

Three Israeli Arab gunmen shot the officers near the holy site known to Muslims as Haram al-Sharif and to Jews as the Temple Mount. The gunmen were shot dead after being pursued on to the site.”

And later on in the report readers were told that: [emphasis added]

“In the wake of the killing of the police last Friday, Israel installed metal detectors at entrances to the holy site. The move, however, drew an angry reaction from Palestinian and Islamic leaders who say it is a violation of the status quo. […]

Israel says the measure is necessary for security after the weapons used to kill the policemen were smuggled into the hilltop compound. […]

Israel has repeatedly pledged to maintain the status quo – a delicate set of arrangements in place at the site for the past 50 years. Any changes there are often regarded by Palestinians, who claim East Jerusalem as the capital of a sought-after state, as a violation of these arrangements.”

However, the BBC did not bother to inform its audiences what the status quo entails or that, despite what “Palestinian and Islamic leaders” may say, the installation of security measures after terrorists had weapons delivered to them inside al Aqsa mosque does not violate the existing arrangements which include the following:

“The Waqf, as an arm of the Jordanian Ministry of Sacred Properties, would continue to administer the site and would be responsible for the religious and civil arrangements concerning the Temple Mount.

The Israeli Police would be responsible for security within the holy compound, the interior area and its outskirts, the wall and the gates.”

This is of course not the first time that the BBC has referred to ‘the status quo’ on Temple Mount without properly explaining to audiences what that term actually means.

Additional recent BBC reports also amplified Palestinian messaging without clarification or qualification. An article that appeared on the BBC News website on July 22nd under the headline “Jerusalem: Metal detectors at holy site ‘could be removed’” failed to inform readers that installation of the metal detectors came after firearms were smuggled into al Aqsa mosque.

“Israel installed the detectors after two Israeli policemen were killed near there earlier this month.”

It then unquestioningly amplified baseless Palestinian claims:

“The measures angered the Palestinians, who accuse Israel of trying to take control over a sacred place.”

Another article – published on July 23rd under the title “Jerusalem: Israel installs security cameras near holy site” – also amplified baseless claims while failing to provide readers with the information that would enable them to judge the validity of such allegations.

“But Palestinians strongly object to the installation of metal detectors. They see it as a move by Israel to assert more control over the sacred site and as a violation of longstanding access arrangements.”

The BBC is obliged to “provide impartial news and information to help people understand and engage with the world around them”. The unchallenged amplification of one side’s baseless allegations and the repeated failure to properly explain the issues behind such highly inflammatory subject matter obviously do not meet that obligation.

Related Articles:

BBC backgrounder on Palestinian ‘metal detector’ outrage fails to tell all

BBC’s Connolly fails to tell all about the ‘status quo’ on Temple Mount

BBC coverage of Succot Temple Mount riots – part one

Why the BBC’s failure to cover faux outrage in Jerusalem matters in the UK

More conspiracy theory amplification from BBC’s Yolande Knell – and why it matters

BBC’s Yolande Knell ditches any semblance of impartiality