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Labia Theatre’s nine-year battle against anti-Israel film

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Lifestyle

It’s been nine years since Labia Theatre owner Ludi Kraus was unwittingly caught up in a fight with the Palestinian Solidarity Campaign (PSC) over the screening at his theatre of a documentary which compares Israel to apartheid South Africa.

“This is a battle I didn’t choose,” he says in an exclusive interview with the SA Jewish Report. “I stood up for the rights of independent cinemas and in particular my theatre. It’s been enormously stressful, but I didn’t want my theatre to be used for an event that was central to something as divisive as the opening of Israel Apartheid Week (IAW). So, I stuck with those principles.”

In a judgment delivered on 26 March 2021, Western Cape Judge Andre Le Grange of the Equality Court ruled that the Labia must screen the film The Roadmap to Apartheid within 60 days, and it was ordered to pay costs.

Kraus, who is Jewish, couldn’t at the time of going to press share how he and his legal team would respond to the judgment, but he recalled how it all started. “I received a request from a publishing company to rent a cinema on a Sunday afternoon. It was called, somewhat innocuously, Workers World Media Productions.

“An arrangement regarding the screening of the film was made, and I was told to send an invoice to the PSC. I was puzzled because I thought it was a South African movie linked to apartheid. The publishing company hadn’t mentioned the PSC at all. So I googled the film, and to my surprise, found that it was about comparing apartheid to Israel and the Palestinians. I didn’t feel comfortable showing the film, especially when I found out that the screening at the Labia was to be a central part of the opening of IAW in 2012.

“I was unhappy with the film and the event. I felt it wouldn’t be popular with the majority of my patrons, especially considering the hundreds of other venues that could be used to screen it instead. I phoned the publishing company, and told it that I didn’t want to proceed. Communication was initially polite. They were understanding, and said they would discuss it with their colleagues.

“The next thing, I was by accident sent some in-house emails that weren’t intended for me, in which one person said that they were happy to find an alternative venue, but others insisted that it be shown at the Labia, which would generate publicity for their cause.

“We were then subjected to emails, threats, boycotts, and pickets every Friday for a year. They got academics and the media involved. Meanwhile, the film was shown on UCT [the University of Cape Town] campus, and went on a national tour.

“They also got organisations to boycott us, and some of it did affect us. We were then approached by Right2Know (R2K), which said it was prepared to mediate. It culminated in our agreeing to a screening of the film on condition that the South African Zionist Federation [SAZF] be present to debate the film afterwards. We obviously wanted to try and have a balanced debate. But the SAZF pulled out. Because the condition hadn’t been met, we cancelled the screening, which led to a further outcry.

“That was followed by both the PSC and R2K lodging complaints with the South African Human Rights Commission (SAHRC). The SAHRC found in favour of us.

“Unbeknown to us though, the PSC and R2K then appealed the SAHRC decision without notifying us that they were doing so,” Kraus says. “This time, on appeal, the SAHRC overturned its initial decision, and found against us. The first we heard about the appeal ruling was a year after it had taken place. Yet, it’s a legal principle that you can’t rule against someone if you haven’t given them the opportunity to hear their side of the story, as was the case here.

“So, we took the SAHRC’s decision on review to the High Court, and we won that battle. But the Equality Court, in a separate matter brought by the PSC, ruled against us, ordering a screening of the film.”

Going forward, Kraus is most concerned about the ongoing funding of legal costs, especially if the case goes all the way to the Constitutional Court. The cinema has had a tough year financially as it was in lockdown for five months. It was then hit by the second wave during the holiday season – the only time it could have ‘caught up’. Having now fought two high court cases, it simply doesn’t have the resources to continue to fight with an appeal to the Supreme Court and then, if necessary, the Constitutional Court. Kraus says that even with his attorneys acting pro bono, the cost of driving these matters through the courts is still substantial for a small business.

“It’s a struggle. Many of our patrons are older people who aren’t ready to return to the cinema, even though we have COVID-19 safety protocols in place,” says Kraus. The cinema is hoping to draw a younger audience with more commercial titles. It has also launched a streaming service that is available anywhere in South Africa.

Kraus believes that the PSC and its supporters don’t care much about the actual screening of the film at the Labia anymore. “For them, all these years later, it’s more about the publicity that’s being generated over the issue,” he says.

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4 Comments

4 Comments

  1. Adele

    Apr 8, 2021 at 12:20 pm

    How absolutely despicable! Rudi, thank you for not bowing to their demands, I am a keen Labia fan

  2. John Scott

    Apr 9, 2021 at 2:51 pm

    A disgrace that a private and independent cinema company should be forced a screen a film it does not wish to screen. Even in the apartheid days this couldn’t have happened. The government then could order a film to be withdrawn from distribution, but never order one to be shown that the owner had no interest in. Though I support the judiciary fully and would defend it against attack from senior members of the ruling party, I believe the judgment in case is faulty and should be reversed on appeal.

  3. Evelyn Smit

    Apr 9, 2021 at 5:45 pm

    I cannot begin to get over just how disgusting the PSC is.
    Deliberately picking a theatre owned by a Jewish person and further knowing that most of the patronage Jewish.

  4. HOWARD JOFFE

    Apr 14, 2021 at 10:34 pm

    I understand that the Labia Cinema is a privately owned business. That anybody has the audacity to suggest what must or must not be screened, is beyond belief. I fail to understand how our courts can mediate over this issue. The rights of the court and the rights of the business owner Ludi Kraus should not be so undefined as they appear to be in 2021 South Africa. What has happened to our democracy ? Surely the only person who ought direct how the business operation should be conducted, is that of the owner or his general manager.
    In short, I am shocked to read of the political interference by the PSC. THE PSC have their agenda. Given that Kraus has no part to play in how they the PSC run their organization, so too must the reverse apply.
    Methinks everybody in this saga should have a rethink. I back Ludi Kraus all the way.

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Israel

SA’s unique connection to Israel makes Israelis feel at home

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Yom Hazikaron and Yom Ha’atzmaut are generally tough days for Israelis in the diaspora as it isn’t easy to experience them properly thousands of kilometres away from Israel.

But in South Africa, many Israelis say it’s easier.

“The first few years in South Africa, I was amazed at how similar Yom Hazikaron and Yom Ha’atzmaut felt to how it is in Israel,” says Israeli ambassador Lior Keinan. “I made a point of visiting different communities and schools on Yom Hazikaron and Yom Ha’atzmaut. It felt so familiar. They played the same songs and danced the same dances. It was a relief.”

Liat Amar Arran, the local Jewish Agency representative and the director of the Israel Centre, agrees. When she moved here, she thought these particular days would be when she would be most needed with her “personal stories and sense of connection” with Israel. “Instead, I met a community that was already strongly connected and was very involved in commemorating and celebrating Yom Hazikaron and Yom Ha’atzmaut. It was amazing.”

For South African Jewry, Yom Hazikaron and Yom Ha’atzmaut showcase their connection with Israel.

“Yom Hazikaron is an incredibly important day when we commemorate those who fell protecting Israel. Without those who have given their lives to keep am Yisrael [the people of Israel] alive, we wouldn’t feel protected here in South Africa,” says South African Zionist Federation National Chairperson Rowan Polovin. “It’s really important to realise exactly what the people of Israel have gone through to keep Israel alive.”

For Israelis living here, it’s a lot more personal.

“Being here on Yom Hazikaron has extra special meaning for me,” says Keinan. “I’m fortunate that none of my family has been killed in action. However, one of my best friends who I studied with in high school was killed in the second Lebanon War. Ashi Novik was a South African who moved to Israel. So now, for me to be an ambassador in South Africa, I can look at the memorial of all the South Africans who paid the ultimate price for Israel, and I see the name of my high school friend. When I light a candle for him personally and all those whose names are on the memorial, I feel like I’m closing the circle. I knew him in the past, and now I’m here honouring his memory.”

Habonim Dror Southern Africa shaliach Lior Agiv says learning to appreciate Yom Hazikaron has been a process.

“As a young child, these days of Zikaron and Atzmaut always seemed to be something amorphic. Hearing my father’s stories of all the wars he had taken part in, watching these series and movies on TV, it all remained a bit abstract. As I grew up and my army chapter was getting closer, I started to wonder more about the meaning of these days.

“All these feelings grew much stronger after my army days near Ramallah. Since then, every year, no matter where I’m located, I honour these days by lightning a neshama candle for my fallen friends and try to deepen my knowledge of our wars and fallen ones.”

Batya Shmueli, also a shaliach in South Africa, says, “I was born on the African continent in Ethiopia, and at the age of 11, my family fulfilled our dream of returning to Jerusalem. Returning to Africa as an Israeli to do a mission with my family is closing a huge circle. We will connect with our brothers and sisters and remember the loved ones who fell and sacrificed their lives in various wars for the sake of the people of Israel and future generations,” she says.

“Independence Day is a day in which we stop for a moment and look at the fact that we have a state and a home for the Jewish people,” she says.

Arran says that everyone in Israel knows someone who has been killed, which is why Yom Hazikaron is felt so keenly. “My good childhood friend, Ariel, was killed in the army,” she says. “My brother-in-law lost his entire unit in a helicopter crash. Everyone knows someone that has been killed.”

Lee Salama, a Habonim shaliach in Cape Town, says, “In officer boot camp in the IDF [Israel Defense Forces], we have a saying, ‘We have to realise that in order for us to be able to celebrate Yom Ha’atzmaut, there were people who had to die.’ And then we have this beautiful transition to Yom Ha’atzmaut and celebrating life.”

Says Polovin, “Yom Ha’atzmaut is an incredible celebration of everything Israel has accomplished in its very short 73 years. No matter where you look, Israel is a ‘light to the nations’ showing the way. Whether it’s technology, medical advancements, or even showing the world how to recover and rebuild from the coronavirus pandemic, Israel is at the head of the pack.”

Says Keinan, “The beauty of going straight from the sombre day of Yom Hazikaron to the happy day of Yom Ha’atzmaut shows us that from great pain and sorrow can come the greatest joy. The suffering and pain, and the joy and celebration, are really just two sides of the coin.”

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Demystify death for children

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Death is part of life, yet it remains a taboo topic, especially when it comes to children. Yet, with COVID-19 bringing death to our doorstep, it’s vital that parents and children are comfortable with talking about it, says social worker Carin Marcus.

Marcus spoke at a recent event hosted by Nechama Bereavement Services. In introducing her, Nechama Director Rebbetzin Avigail Popack said Marcus had been touched by death from a young age as she lost her father in the Helderberg plane crash. She went on to specialise in counselling in the fields of oncology, palliative care, grief, loss, crisis management, and bereavement.

“We need to demystify death. It’s an unavoidable reality,” said Marcus. “Instead of seeing death only through the lens of fear and vulnerability, we can see it as an amazing teacher that makes us appreciate life and its impermanence.”

The pandemic has been a time of loss and trauma, she said. In addition, games like Fortnite are full of death. It means that children need to have the language to talk about it in a way that suits their developmental stage. “The golden rule is to trust your gut … you know how much information your child can handle.

“Children aren’t homogenous. We need to unpack the capacity they have. Children up to the age of two or three don’t have the concept of death, but they can pick up on an atmosphere and environment, even if they don’t have the language.” This is why it’s important to be aware of the atmosphere one creates around these children if someone has died, Marcus said.

These children may experience a “double loss” when they are older and don’t have a memory of the person who died when they were a baby or toddler. It means that as adults, we have to develop a “memory” of sorts. The child can still form a relationship with who the person was, even if they are gone.

Children from the ages of three to six start to understand the life cycle, but the world is still magical to them. They may “lack an understanding of permanence. So, if they hear that granny has gone to Hashem, they may still expect her to come back,” Marcus said.

Older children have more concrete thinking, and will understand that the person isn’t coming back. They may feel grief, displayed in regressive behaviour, separation anxiety, or struggling to sleep. They start to understand the universality of death, that “it can happen to me”.

Most adolescents need to be included fully in discussions and rituals around death, as they are at the stage where they need to feel included and are contemplating bigger questions about life and death.

No matter how old the child is, “the information we use must be honest and factual”, Marcus said, pointing out that euphemisms often create confusion for children. For example, if you say, “They lost their granny,” a child may say, “Well, why don’t they just go find her?” And if you say, “Granny’s soul is with Hashem,” a child may confuse it with sole (the fish). If we say, “She is up in heaven,” children may expect to see her in the sky, or when they go on an aeroplane. So, we must be careful with the language we use. “Even for adults, it’s hard to use the proper words, but we need to do so,” Marcus said.

We must use moments of life and death to develop skills. For example, if the child’s school has a farmyard and a rabbit dies, instead of rushing to replace it so children don’t notice, use the moment to acknowledge feelings and develop a ritual around death. Looking at the seasons and nature – the way leaves fall off the trees, or how animals and pets die – are also ideal opportunities to discuss the impermanence of life.

Even though it’s scary, parents need to impress on their children that no question is out of bounds. In addition, let children guide you in how much information you give them. “It’s like building a Lego city – one block at a time. As they develop, they will learn more.”

Parents need to be role models and show that it’s okay to cry or grieve, that these are “natural responses to life”, explain why they are sad, and that they will be okay.

Parents can describe grief like a wound. At first, it’s raw and open, but as time passes, it heals – the scar is still there, but it’s less painful. They can also explain the idea of the body and the soul by putting their hand in a glove – when the hand leaves the glove, the soul has left the body. In explaining death, give factual information about how the body shuts down and no longer works and that they cannot come back to life.

It’s also important to explain what a cemetery is, and to emphasise that it’s a serene place, unlike the scary cemeteries depicted in stories or films. When it comes to funerals, explain to children what will happen, and leave it up to them to decide if they want to attend. If not, there should be no guilt.

It’s meaningful to allow children to describe heaven as they imagine it, Marcus said, and this can evolve as they get older. It’s also important to engage children in rituals of remembering. In addition, if their friend has had a family member who has died, it’s important to emphasise that they shouldn’t be scared of that child.

One of the hardest moments as a parent is when a child asks, “Will you die?” The best way to respond to this is that everyone dies, Marcus said, “but I hope to live long, and I’m trying to stay healthy so that I can”. It’s also vital to assure a child that death is never their fault. An even harder moment is when a child asks if they will die, or says that they don’t want to die. “You can promise that you will do everything to help them be healthy and live a long life. Help them focus on the present, and the fact that they will achieve all their dreams.”

Sometimes, people want to wait to tell a child that someone has died, Marcus said, but the risk is that someone else might tell them – and in the wrong way. Rather, “try not to delay, but find the right moment. In therapy, people often say they never forget how they were told someone had died. It’s a moment they hold onto, and it’s very painful if it’s not by a person you trust.”

While adults often feel they are “drowning in grief”, children are more resilient and “jump in and out of puddles” of sadness. “I always think of life like the Shabbat box that the kids bring home on a Friday and return on a Monday. We need to treat life like that. It’s a gift, but we’re eventually going to give it back. So treasure it while we have it.”

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Lifestyle

Lockdown opens world stage for determined teen

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Like many other teens, 15-year-old student Jevan Sifrin found himself with too much time on his hands under the hard lockdown last year. But instead of spending endless hours watching Netflix, he decided to use the time to improve his fitness.

That little decision has led to astounding opportunities, showing that committing to a goal can take you places you never imagined.

“Jevan went from being bored to being selected to attend an acting programme in New York or Los Angeles this year, and potentially setting off to New York for modelling and acting next year as well,” says his mother Taryn Sifrin.

He started working out during lockdown because “I had been playing rugby at school and at Pirates Rugby Club, and I was motivated to work out to become bigger and do better at rugby after lockdown. I also had a lot of time on my hands,” he says.

“Jevan starting training with calisthenics. We helped to equip a home gym for him, and he trained for hours every day, totally self-motivated,” says Taryn. “Calisthenics is training using your own body weight, and anyone can do it, anywhere,” says Jevan.

“He decided to start an Instagram account featuring his training and fitness videos, and was eventually noticed by a scout for talent agency 33 & Me in Illovo.

“We scheduled a meeting for January when we were back from holiday. They were so impressed with his interview and look, they signed him up immediately and scheduled his first portfolio photoshoot,” says Taryn.

“It was there that he was noticed by Elsubie Verlinden, who is a director at the agency, and she suggested that he audition before directors of the New York Film Academy and apply to attend their summer holiday acting programme in July/August. He had a great audition, and we were informed that he had got into the programme and can choose to attend either in Los Angeles or New York. We have applied for New York. This is a huge achievement, and we are so grateful to Elsubie for arranging his audition.”

“It’s a three-week acting programme taught by lecturers who have taught many famous graduates in the field,” says Jevan.

He has also been accepted to perform in the International Art Talent Showcase in September, which is judged by a large panel of influential people mainly from New York. If he makes it through that, he will be back in New York in June next year for acting and modelling.

“I would never have imagined that working out during lockdown would’ve taken me this route,” says Jevan. “The first goal was to train for rugby, then aim to become a Navy Seal one day, or to go international with my calisthenics training. I would never have believed it would take me on the modelling and acting path.”

Fitting in training isn’t easy for a busy teen, but he makes it a priority. His daily routine begins with a cold shower, a healthy nourishing breakfast, and then he goes to school. He does most of his homework at school, so when he comes home, he can eat lunch and weight train for about two hours. He then researches and practices monologues, model walks, and poses. Then he does calisthenics and goes for a run for about an hour. “Most of the auditions are online these days, which helps save time,” Jevan says. “I can catch up school work on the weekends.”

His audition with the New York Film Academy “was nerve wracking and scary”, he says, “but I thrived under the pressure, and did my best. Normally, directors come out here from New York to interview potential candidates, but this year, we had to do it on Zoom. I’m hoping to be able to get to New York to attend the course in person, but if not, I’ll be able to do it online.”

His ultimate goal is to attend the New York Film Academy after school, learn all about film and the entertainment industry, and hopefully be able to play his dream role, the Joker.

His advice to other teens wanting to reach similar goals is “to work harder than others, do the same thing every day – eat, train, and focus the same way every single day. If done for hours consistently, it will bring success.”

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