On 5th December, broadcaster and barrister Rob Rinder will chair a discussion exploring the unsettling question: are Jews still welcome in the British arts today? The event’s significance is twofold. First, its very existence underscores a troubling trend. Second, the location remains undisclosed, with participants directed to a “North West London venue,” reflecting concerns for safety—an unsettling but increasingly realistic precaution.
This discussion follows a series of incidents highlighting a rise in antisemitic sentiment across cultural institutions. Recently, JW3, Britain’s largest Jewish cultural centre, faced aggressive demonstrations, including chants and flag-waving aimed at intimidating local Jewish residents. Such events are not isolated. The Jewish Literary Foundation has been burdened with hefty security costs for its annual Jewish Book Week, while Barnet Literary Festival moved entirely online due to similar concerns.
These episodes point to a broader cultural marginalisation of Jews. For instance, at a recent performance of The Merchant of Venice 1936 featuring Tracy-Ann Oberman, attendees were subjected to invasive security measures, such as proving bottled water contained no harmful substances. Meanwhile, the Royal Court Theatre has come under scrutiny for allowing its staff to wear “Free Palestine” badges, reflecting an apparent endorsement of anti-Israel sentiments.
Art philanthropist Candida Gertler OBE, a prominent supporter of emerging artists, recently resigned from her roles in UK arts institutions, citing a culture of hostility and intolerance. Gertler, whose Outset charity has raised over £16 million for contemporary art, faced calls for severance from institutions like the Tate due to her Zionist affiliations. In a powerful resignation letter, she lamented the erosion of dialogue and respect, describing the environment as reminiscent of the 1930s—a chilling warning from history.
The Campaign Against Antisemitism called Gertler’s departure a wake-up call, highlighting the gravity of the situation when figures like her feel compelled to leave their life’s work. Adding to the controversy, over a thousand artists signed an open letter urging the Tate to dissociate from Gertler’s charity, sparking further debate about the intersection of art, politics, and antisemitism.
Elsewhere, the British Museum faced criticism for a display inaccurately using “Palestine” to describe a region from 1000 BCE, a term only coined by the Romans centuries later. Historian Simon Sebag Montefiore decried the anachronism, urging the museum to maintain scholarly rigour.
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Meanwhile, at the Oxford Union, a debate on the Middle East erupted into chaos, with accusations of pro-Hamas bias and overt hostility toward Jewish students and speakers. Notable incidents included interruptions, insults, and the destruction of materials related to hostages. These scenes, described as “mob-incited Jew hatred” by commentators, highlight the challenges Jewish voices face even in academic settings.
This troubling pattern spans institutions from the British Museum and Goldsmiths to the Tate, the Royal Court Theatre, and Oxford Union. It raises an urgent question about the inclusivity of British arts today. The upcoming event chaired by Rob Rinder seeks to address these issues, offering a platform for dialogue and reflection. Whether this marks a turning point or another chapter in a growing wave of marginalisation remains to be seen.
As antisemitism increasingly intertwines with cultural and political discourse, the need for collective action becomes ever more pressing. For the arts to remain a beacon of diversity and expression, all forms of discrimination must be confronted head-on. December 5th’s discussion is not just timely—it is essential.
