Nicola Benedetti – no help for young Gazan musicians
In July 2016 Glasgow hosted the Palestine Youth Orchestra for the duration of their rehearsal schedule in preparation for their first UK Tour. Missing from the orchestra (and the experience of a lifetime) were the two fifteen year old musicians, Raslan Ashour (Trumpet) and Sofiya Radwan (Violin) selected by audition from the Gaza Music School. They were denied permission to leave the Gaza Strip by Israel.
In August the Executive of Scottish Friends of Palestine decided to act on behalf of the two young musicians, to try to get them out of Gaza for a visit to Scotland and the opportunity to play their instruments to Scottish audiences.
The decision was taken to approach the internationally renowned Scots violinist, Nicola Benedetti, and basically appeal to her humanity for assistance in getting the two young Gazan musicians permission from the Israeli authorities to leave Gaza.
The rationale for approaching Ms Benedetti to help “build bridges” (to borrow a phrase much beloved by Israel propagandists) between Gaza and Scotland was as follows:
Ms Benedetti proudly publicises her interest in helping young musicians achieve, if not their potential, their aspirations. There is certainly much evidence to support this claim.
Ms Bendetti has close connections with Israel’s music fraternity. She plays with the Israel Philharmonic Orchestra (previously the Palestine Philharmonic Orchestra). And in 2016 she was the principal guest at a JNF (Jewish National Fund) fundraising event in Glasgow.
Her credentials for the task ahead seemed impeccable. Accordingly the following letter was sent to Ms Benedetti via Allan Beavis (possibly Ms Benedetti’s PA and who is tasked with “non-performance, charity, education and other enquiries”) at allanbeavis@gmail.com on 30th Aug 2016.
Dear Ms Benedetti,
insufficient reason to travel
I write to you on behalf of Scottish Friends of Palestine (SFoP) on a matter which we hope you can assist.
First of all I would draw your attention to the enclosed flyer which publicises the recent UK Tour of the Palestine Youth Orchestra (PYO). You will notice that their principal UK partner was the Royal Conservatoire of Scotland. SFoP had close involvement in the logistical organisation of the week long rehearsal of the PYO in Glasgow. Some of us met the young musicians in person and were impressed by their vibrancy, their commitment to excel as members of the orchestra and their sense of joie de vivre.
The members of the orchestra were drawn from the occupied West Bank and the Palestinian diaspora with the Edward Said Conservatory of Music playing the principal role in drawing all together. This was not a straightforward task and it failed outright when it came to the musicians auditioned in Gaza. Despite obtaining visas to enter Jordan and the UK, the two fifteen year old musicians selected, Raslan Ashour (Trumpet) and Sofiya Radwan (Violin) from the Gaza Music School were refused permission to leave Gaza by the Israeli Government with, we understand, the stated reason being “insufficient reason to travel”.
In our opinion, this decision was a very cruel and heartless one – but not without precedent when it comes to the Palestinian under occupation trying to engage with the outside world. It certainly raises many questions when one considers the effort the Israeli state put into the Shalom Festival, only a couple of weeks later, at the Edinburgh Festival – with the slogan “building cultural bridges”. Israel certainly did not allow these two young musicians to cross any bridges. They denied two young people the opportunity to enrich their lives.
Although we certainly do have strong reservations with regard to your association with the Israel Philharmonic Orchestra (which started life as the Palestine Symphony Orchestra) and the role this Orchestra plays in trying to portray Israel as a normal member of the world community, we are also aware that you have a personal commitment as a ‘passionate and committed campaigner for music and arts in education.’
Scottish Friends of Palestine asks you to reflect on the above action of the Israeli Government and its impact on the two young musicians – who must have been overjoyed when visa applications were approved thus promising the prospect of a once in a lifetime opportunity to join the Palestine Youth Orchestra on their UK tour. How devastating this must have been when their dreams were dashed because they had presented “insufficient reason to travel.” We would ask you to consider what you can do to help bring the two youngsters to the UK to realise their dream.
We are under no illusion as to the demanding nature of this request. The PYO UK Tour had the support of many bodies. They all felt the keen disappointment of Raslan Ashour and Sofiya Radwan and there will be strong commitment and support for the two youngsters should they visit the UK.
Finally, during their rehearsal week in Glasgow, the members of the PYO took the opportunity to travel about and see the country. One of their destinations was Largs, which should be no stranger to you, where they were hosted by a local church and had the opportunity to experience the setting sun over the Firth of Clyde (admittedly through the rain clouds). This experience should also have been shared by Raslan and Sofiya and the fact that it was not, is one of the driving forces behind this letter.
A reminder sent on 10th October 2016 to Allan Beavis
Then, following direct contact with Ms Benedetti’s management company, Emblem Artists, the following reply was received:
On 19/09/2016 08:36, Elaine Armstrong wrote:
Dear Mr. Humphries,
Many thanks indeed for your email and letter to Nicola and I’m sorry that you didn’t receive an acknowledgment of receipt as yet. I will pick this up with Allan and Nicola and you’ll receive a response from one of us ASAP.
Kind regards,
Elaine
With no reply being received a reminder was sent to Ms Armstrong on 6 October 2016 but still no promised reply.
Following a change of management company from Emblem Artists to Askonas Holt, the letter to Ms Benedetti was sent to Askonas Holt accompanied by the following comment:
Interestingly, and encouragingly, I note that both Emblem Artists and Askonas Holt take/took care to publicise Ms Benedetti’s involvement in the promotion of music amongst the young and is described as, and I quote, A passionate advocate for music education and for the development of young musical talent. It is this endorsement which encouraged Scottish Friends of Palestine to make contact in the first instance and we look forward to a positive reply.
A further letter was sent on the 15 November 2016 accompanied by the following comment:
Dear Mr Chandler,
I first contacted you on the 21st October with a letter attached for Nicola Benedetti. You replied promptly with a promising reply. However, in the absence of a further reply I am none the wiser as to whether contact has been established with Ms Benedetti. This is disappointing.
During their summer UK Tour, the Palestine Youth Orchestra headlined the ISME Conference in Glasgow. The Royal Conservatoire of Scotland was the principal partner for their UK Tour and it was only made possible by the cooperation of a variety of bodies in Scotland and the wider UK. We all pulled together to ensure success. Scottish Friends of Palestine would like to think that with a bit more help we can, in a small way, share the unique experience of the Tour (see attached photos) with the two fifteen year old Gazan musicians who were not allowed to leave Gaza by the Israeli authorities.
Israel makes much of the need to ‘build bridges’. If we all make an effort we might just persuade them that, if this bridge does exist, there is enough room on it for two Palestinian teenagers with a passion and talent for music. I further attach the letter for Ms Benedetti.
With no reply, a further accompanying letter was sent on the 17 January 2017:
Dear Rupert and Hannah,
It is some time now since I last communicated with you. I can only apologise for making this further contact. I had hoped, by now, to have had a reply in relation to Scottish Friends of Palestine’s letter to Nicola Benedetti (attached) and to be in a position to take our ideas forward. Sadly, despite initial assurances otherwise, we are still awaiting a reply.
I take this opportunity to elaborate on the reason for approaching Ms Benedetti in the first instance and why we were pleased to find Askonas Holt as our eventual interlocutor.
From what I can see, Askonas Holt has about 250 artists on its books. Each one of these will have been nurtured and encouraged in their youth. Without this encouragement and help they would never have reached professional status. Not one, I am willing to wager, was ever told by their parent(s), when asked for the umpteenth time to be driven to some rehearsal or concert, that there was insufficient reason to travel. Yet this was the answer given to 15 year old Raslan Ashour and Sofiya Radwan from the Gaza Strip when they applied for permission to leave Gaza and join the Palestine Youth Orchestra on last summer’s UK Tour. This was a hurdle they were not allowed to overcome, unlike the remainder of the PYO orchestra where, in this link, its members tell us about overcoming hurdles and their hopes for the future.
http://www.thenational.ae/arts-life/music/palestine-youth-orchestra-goes-places-to-spread-a-positive-message-with-its-musicThe Israeli occupation authorities have a long history of being perverse and cynical when it comes to its dealings with the Palestinian people. Should strong representation now be made for the Raslan and Sofiya to be allowed to leave Gaza for an opportunity to improve their musical skills, to experience life in an orchestra, it is not impossible that such permission could now be given. The fact that it could be a year too late to join the PYO UK Tour would not faze the authorities in the slightest.
Finally, despite the long delay in replying, Askonas Holt does give us hope. We note that Ms Benedetti is not alone in Askonas Holt’s stable of artists in supporting and encouraging emerging, talented young musicians. In particular, you have the Partitura Project founded by a collective of artists, questioning their role and responsibility – be it æsthetic, ethical, social, pedagogical or spiritual – in a society where some of the most fundamental human values seem in crisis.
And, we suggest, you have to look no further than the besieged Gaza Strip to identify a society where some of the most fundamental human values are in crisis.
Our choice of Nicola Benedetti to approach was made on the basis of her Scottish connection and her well-publicised contribution and commitment to music education amongst children and young people. We hope that she will give our approach consideration and that it merits a reply. We are certainly open to suggestions of an alternative approach or approaches to other individuals within Askonas Holt.
I look forward to hearing from you.
Final letter sent to Askonas Holt on 12 February 2017:
Dear Rupert and Hannah,
A brief email to express the disappointment of Scottish Friends of Palestine with regard to the absence of a reply from yourselves – despite numerous, reasoned attempts. It is quite sad that a body such as Askonas Holt, with such a confident profile, seems not prepared to go that extra mile in an effort to give two young, talented musicians hope in their life.One consequence of this is that Scottish Friends of Palestine must now renew its efforts through other channels.
This final communication to Ms Benedetti was sent to he rfamily address in East Kilbride:
24 February 2017
Dear Ms Benedetti,
You may or may not be aware that, as Secretary of Scottish Friends of Palestine, I have tried to contact you through your management companies since about August 2016. Despite assurances, following initial contact with both Emblem Artists and Askonas Holt, that a reply would be forthcoming, this has never happened. As it stands, I do not know if you have received the letter (attached) or if instructions have been given by yourself or your PA to ignore the letter.
I would like to think that the former course of action does not apply. As I am sure you are aware, the active encouragement of young people to pursue their dream can be one of the most productive and rewarding acts of selflessness anyone can ever do. More so in the case of youngsters whose freedom is utterly constrained and constricted by events and reality totally outwith their control.
Finally, I have also attached a copy of the last email sent to Askonas Holt for your information.
View all →Dear Rupert and Hannah, (sent by email 16/1/17)
It is some time now since I last communicated with you. I can only apologise for making this further contact. I had hoped, by now, to have had a reply in relation to Scottish Friends of Palestine’s letter to Nicola Benedetti and to be in a position to take our ideas forward. Sadly, despite initial assurances otherwise, we are still awaiting a reply.
I take this opportunity to elaborate on the reason for approaching Ms Benedetti in the first instance and why we were pleased to find Askonas Holt as our eventual interlocutor.
From what I can see, Askonas Holt has about 250 artists on its books. Each one of these will have been nurtured and encouraged in their youth. Without this encouragement and help they would never have reached professional status. Not one, I am willing to wager, was ever told by their parent(s), when asked for the umpteenth time to be driven to some rehearsal or concert, that there was insufficient reason to travel. Yet this was the answer given to 15 year old Raslan Ashour and Sofiya Radwan from the Gaza Strip when they applied for permission to leave Gaza and join the Palestine Youth Orchestra on last summer’s UK Tour. This was a hurdle they were not allowed to overcome, unlike the remainder of the PYO orchestra where, in this link, its members tell us about overcoming hurdles and their hopes for the future.
http://www.thenational.ae/arts-life/music/palestine-youth-orchestra-goes-places-to-spread-a-positive-message-with-its-musicThe Israeli occupation authorities have a long history of being perverse and cynical when it comes to its dealings with the Palestinian people. Should strong representation now be made for the Raslan and Sofiya to be allowed to leave Gaza for an opportunity to improve their musical skills, to experience life in an orchestra, it is not impossible that such permission could now be given. The fact that it could be a year too late to join the PYO UK Tour would not faze the authorities in the slightest.
Finally, despite the long delay in replying, Askonas Holt does give us hope. We note that Ms Benedetti is not alone in Askonas Holt’s stable of artists in supporting and encouraging emerging, talented young musicians. In particular, you have the Partitura Project founded by a collective of artists, questioning their role and responsibility – be it æsthetic, ethical, social, pedagogical or spiritual – in a society where some of the most fundamental human values seem in crisis.
And, we suggest, you have to look no further than the besieged Gaza Strip to identify a society where some of the most fundamental human values are in crisis.
Our choice of Nicola Benedetti to approach was made on the basis of her Scottish connection and her well-publicised contribution and commitment to music education amongst children and young people. We hope that she will give our approach consideration and that it merits a reply. We are certainly open to suggestions of an alternative approach or approaches to other individuals within Askonas Holt.
I look forward to hearing from you.
Yours sincerely,
Hugh Humphries
Sec
Cc SFoP Executive
rupert.chandler@askonasholt.co.uk, hannah.bishay@askonasholt.co.uk