Cultural Boycott

CULTURAL BOYCOTT

OVERVIEW

Israel overtly uses culture as a form of propaganda to whitewash, or artwash, its genocide in Gaza and underlying regime of settler-colonialism, apartheid, and military occupation over the Indigenous Palestinian people. Israel’s genocide has included a deliberate obliteration of archeological sites and cultural heritage across Gaza. 

Just as South African anti-apartheid movements had called on international artists, writers and cultural institutions to culturally boycott South Africa, the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI) urges international cultural workers and cultural organizations, including unions and associations, to boycott and/or work towards the cancellation of events, activities, agreements, or projects involving Israel, its lobby groups or its complicit cultural institutions.

International venues and festivals are asked to reject funding and any form of sponsorship from the Israeli government or complicit entities. Since Israel’s cultural institutions are implicated in genocide, apartheid and military occupation, international artists and arts organizations have a profound ethical duty to do no harm to the Palestinian struggle by working to end links of complicity with those institutions. Accountability for Israel’s oppression against Palestinians is more urgent than ever. 

Tens of thousands of artists across the world and a rapidly growing number of arts organizations have publicly endorsed the cultural boycott of apartheid Israel.

WHY?

The case for a cultural boycott of Israel

Israeli government officials have summed up how Israel instrumentalizes culture to cover up its grave violations of international law. “We are seeing culture as a hasbara [propaganda] tool of the first rank,” one official admitted, “and I do not differentiate between hasbara and culture.”

Israel’s cultural institutions are part and parcel of the ideological and institutional scaffolding of Israel’s regime of settler-colonialism, apartheid and military occupation against the Palestinian people. These institutions are clearly implicated, through their silence or active participation in supporting, justifying and whitewashing Israel’s systematic oppression and denial of Palestinian rights.

According to the BDS movement’s Guidelines for the International Cultural Boycott of Israel, in order for Israeli cultural institutions to end their collusion in Israel’s regime of oppression and become non-boycottable, they must fulfill two basic conditions: 

  1. Publicly recognize the inalienable rights of the Palestinian people as enshrined in international law (including the three basic rights in the 2005 BDS Call) and
  2. End all forms of complicity in violating Palestinian rights as stipulated in international law,including discriminatory policies and practices as well as diverse roles in whitewashing or justifying Israel’s violations of international law and Palestinian human rights.

When international artists perform at complicit Israeli cultural venues and institutions or at events sponsored by Israel, its lobby groups or its complicit institutions, they help to create the false impression that apartheid Israel is a “normal” state. The absolute majority of Palestinian writers, artists and cultural centers have endorsed the cultural boycott of Israel, and there is a growing number of anti-colonial Israelis who support BDS, including the cultural boycott of Israel.

To distract from and whitewash its crimes against the Palestinians, and in response to PACBI, Israel launched the well-oiled “Brand Israel” propaganda campaign in 2005.

Following its 2009 massacre in Gaza, for example, an Israeli official announced a plan to “send well-known novelists and writers overseas, theatre companies, exhibits” to “show Israel’s prettier face.”

As revealed in the Israeli media, Israeli artists who receive state funding to perform overseas often sign a contract pledging “to promote the policy interests of the State of Israel via culture and art, including contributing to creating a positive image for Israel,” thus forfeiting any claim to artistic freedom.

International venues, festivals and other arts organizations are increasingly refusing to accept Israeli government funding or host artists/writers acting as cultural ambassadors for Israel’s apartheid regime.

As part of its ethnic cleansing of the Palestinian people, Israel has pursued a policy of deliberately targeting Palestinian culture. To give just a few examples:

During its genocide against 2.3 million Palestinians in the illegally occupied Gaza Strip, Israel has deliberately destroyed irreplaceable Palestinian cultural heritage sites in Gaza, whose history goes back 4,000 years. According to UN human experts, Israel’s genocide has included scholasticide and cultural genocide, which had been documented by the US-based Middle East Studies Association (MESA). Last October, the Arab Regional Group of the International Council on Monuments and Sites (ICOMOS) wrote:

“Gaza alone contains more than 350 archaeological sites, along with historic centers, natural landmarks, and traditional buildings. At least two-thirds of these sites have been bombed and destroyed, either partially or entirely, representing a severe loss of the cultural and human heritage of the Palestinian people and the world’s cultural heritage.”

But Israel’s attacks on Indigenous Palestinian culture did not start with the Gaza genocide. During the 1948 Nakba (Zionist ethnic cleansing of most of the Indigenous Palestinians), Zionist militias and later Israel plundered and/or destroyed tens of thousands of Palestinian owned books.

In 2018, during its brutal military aggression on Gaza, Israeli fighter jets deliberately bombed and destroyed the Said al Mishal cultural centre, including its children’s cinema

In 2009, the Arab League and UNESCO designated Jerusalem as Capital of Arab Culture for that year. Israel banned the celebrations and its police broke up cultural gatherings in venues across occupied East Jerusalem.

During Israel’s military invasion of Ramallah in 2002, soldiers ransacked cultural centers and destroyed original manuscripts belonging to Palestinian poet Mahmoud Darwish.

Israel’s regime of oppression against the Palestinian people is a special cocktail of settler-colonialism, apartheid and military occupation. But some leading South African anti-apartheid leaders, like Ahmed Kathrada, Mandela government minister Ronnie Kasrils and the late Archbishop Desmond Tutu, have argued that Israel’s is a more brutal form of apartheid than its South African predecessor.

The cultural boycott of apartheid South Africa targeted complicit individuals as well as institutions, whereas PACBI’s boycott is institutional. BDS targets complicity, not identity. Those who are now hesitant to support an institutional cultural boycott of Israel while having in the past endorsed a blanket cultural boycott against apartheid South Africa are hard pressed to explain this inconsistency.

In 2004, the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI) issued its historic call for the cultural boycott of Israel. In 2005, PACBI became one of the many Palestinian entities that launched the historic Boycott, Divestment and Sanctions (BDS) Call.

The PACBI call urges international artists, cultural workers and cultural organizations to boycott and work towards the cancellation of activities that involve Israel, its lobby groups and complicit institutions, or that whitewash Israel’s human rights violations.

Find out more by reading the full call and the cultural boycott guidelines. 

LATEST IMPACT

As awareness of Israel’s oppression of Palestinians grows, more and more artists from across the world are joining the cultural boycott.
  • 7,000

    Writers and books industry figures

    including Sally Rooney, Rachel Kushner and Arundhati Roy pledge not to work with any publishers, festivals or publications that are complicit in violating Palestinian rights.

  • Hundreds

    of arts organizations

    Endorsed the PACBI call for cultural boycott in 2024 alone.

  • Multiple

    Major

    Music festivals (SXSW and Live Nation’s British music festivals including The Great Escape) drop complicit partnerships after a total of almost 300 bands boycotted the festivals in protest.

TAKE ACTION

The cultural boycott of Israel is entering the mainstream, thanks to the tireless work of progressive artists and BDS campaigners. Artists have an especially important role to play. If you’re an artist, please show your support for Palestinian freedom, justice and equality by endorsing the cultural boycott of Israel, or at least by respecting our nonviolent picket line. You can also persuade your fellow artists to do the same–to do no harm to our struggle.

As an integral part of the BDS movement, PACBI adheres to the movement’s anti-racist principles and advocates for its affiliation guidelines. PACBI advocates for “strategic radicalism” to reconcile ethical principles with strategic effectiveness. This notion is based on the BDS movement’s tried-and-tested operational principles:

Gradualness (incremental process of building power to affect policy change)

Sustainability (defending and building on previous achievements by steadily widening support for them)

Context Sensitivity (being sensitive to the particularities of every context without losing track of the overall movement objectives)

Strategic radicalism calls on the global solidarity movement, including the part active in the cultural sphere, to employ multiple tactics that take local contexts into account to mutually build on and amplify each other.

Refraining from participating in cultural events in apartheid Israel or in events partnered with Israel, its lobby groups or complicit institutions around the world is one of the most important expressions of support of the Palestinian call for a cultural boycott of Israel. There are many public pledges in support of the cultural boycott to which you can add your name.

It is also perfectly fine, ethically speaking, if you’re a relatively vulnerable artist (e.g., a younger, less established artist of color in a Western country), to respect our cultural boycott guidelines “silently,” without going public, in order to protect yourself from repression and retaliation.

 

Whoever your favorite artists are, make sure they know that Palestinian artists are calling for a cultural boycott of apartheid Israel. Experience shows that good-faith, fact-based and well-argued letters, tweets and messages to artists work best to convince them to heed or endorse the cultural boycott as a particularly effective way to support Palestinian rights. ​

If you’re an artist that publicly supports the cultural boycott, tell the whole world! Share information about the cultural boycott on social media and when you meet others at performances and exhibitions. Share with colleagues that you don’t perform or exhibit your work in apartheid Israel. Share your public statement with us so we can help to publicize it. 


 


 

PACBI sometimes launches international public campaigns that often succeed in convincing famous artists not to perform in Tel Aviv, just as conscientious artists boycotted Sun City. Follow PACBI and the BDS movement on social media and check back on this page for details of any ongoing public campaigns. Your help in these campaigns would be well appreciated.


 


 

Organizing a statement of support for the cultural boycott from hundreds or thousands of artists in a particular country or genre/field can be a very effective way to spread the word about cultural boycott and bring new people on board. Contact us so we can share with you our long experience and best practices.  


 


 

Organizing a speaker event, debate or a teach-in can be a great way to bring people together to discuss and learn about the cultural boycott of Israel. Contact us for suggested speakers and ideas on organizing a teach-in or debate. 


 


 

Mobilize appeals to convince your local arts venue or organization not to accept partnerships with or sponsorships from the Israeli government, its lobby groups or complicit institutions, and to announce its stance.

GUIDELINES

The reference for the cultural boycott of Israel is the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI), a collective of Palestinian academics, artists and cultural workers. PACBI is widely endorsed by Palestinian artists and Palestinian society at large, including almost all cultural organizations and networks. PACBI is a founding member of the Palestinian BDS National Committee (BNC), the broadest coalition in Palestinian civil society that leads the global BDS movement and runs the BDSmovement.net website. 

PACBI has set out detailed guidelines outlining the principles of the cultural boycott and how it should be implemented in order to be in coherence with the PACBI call for a cultural boycott and with the BDS movement’s anti-racist, nonviolent principles. This page is a summary of those detailed guidelines. It is intended to give artists and supporters a general sense of the principles of the cultural boycott. 

If you are trying to establish whether or not an institution, project or event is boycottable, it is important that you consult the full cultural boycott guidelines and/or contact PACBI – [email protected].

Cultural Boycott guidelines - a summary

PACBI urges international artists, cultural workers and cultural organizations to boycott and work towards the cancellation of activities that involve apartheid Israel, its lobby groups and complicit institutions or that whitewash Israel’s human rights violations. This is a boycott of Israeli cultural institutions, not Israeli individuals (more on this below). 

BDS targets complicity, not identity. The cultural boycott of Israel should continue until Israel meets the three demands of the BDS call. As explained in the WHY? section, Israeli cultural institutions can avoid being targeted by the boycott if they publicly support the UN-stipulated rights of the Palestinian people (as stated in the BDS call) and end all forms of complicity in Israeli violations of international law.

Specifically, PACBI urges a boycott of:

International artists are asked not to perform or exhibit in apartheid Israel. This is because such activities help to create the impression that Israel is a “normal country,” thus whitewashing its crimes and violations of Palestinian human rights. Israeli leaders and propagandists consistently use performances in apartheid Tel Aviv to whitewash, or artwash its genocide and underlying regime of settler-colonial apartheid. 

Palestinians reject the idea that the damage done by an artist performing or exhibiting their work in apartheid Israel can in some way be compensated for by a parallel performance or exhibition in occupied Palestinian territory. This unethical attempt at “balance” undermines Palestinian rights.

As an overriding rule, Israeli cultural institutions, unless proven otherwise, are complicit in maintaining the Israeli occupation and denial of basic Palestinian rights. Israeli cultural institutions provide support to Israel’s crimes whether through their silence or actual involvement in justifying, whitewashing or otherwise deliberately diverting attention from Israel’s violations of international law and human rights. Israeli cultural institutions include music bands, orchestras, dance troupes, theatre companies, film production companies, film festivals, museums, publishing houses, etc.

Cultural products that are produced by complicit Israeli institutions, such as film production companies, are boycottable. Israeli artists that receive state funding often sign a contract promising to be a good ambassador for Israel and its policies. Any resultant cultural product or event is clearly boycottable. 

All non-Israeli (e.g., international, Palestinian) cultural products that are funded by official Israeli bodies or international “brand Israel” organizations are politically motivated and should also be subject to boycott. 

Israeli cultural products that receive state funding as part of the individual cultural worker’s entitlement as a tax-paying citizen, without them being bound to serve the state’s political and propaganda interests, are not per se boycottable.

The general principle is that any cultural activity or event carried out under the sponsorship of or in cooperation with an official Israeli body, Israeli lobby group or a complicit institution constitutes complicity and therefore is deserving of boycott. The same may apply to support or sponsorship from non-Israeli institutions that serve Israel’s branding/propaganda purposes. Events and activities include art exhibits, film screenings, festivals, plays, conferences, performances (music, dance, etc.), tours, among other activities.

In the Palestinian context, normalization refers to any expression or activity that creates the deceptive impression that Israel is a state like any other, or that Palestinians, the colonized and oppressed, and Israel, the colonial oppressor, are equally responsible for “the conflict.” Far from challenging the unjust status quo, such activities contribute to its endurance, are intellectually dishonest and should be boycotted. 

An example of a boycottable normalization project would be a joint event that is designed explicitly to bring together Palestinians/Arabs and Israelis so they can present their respective narratives or perspectives, or to work toward reconciliation, without addressing the root causes of injustice. However, a joint project is not boycottable if: (a) the Israeli party in the project recognizes the comprehensive Palestinian rights under international law (corresponding to the 3 rights in the BDS call); and (b) the project/activity is one of “co-resistance” to oppression rather than unethical “co-existence” under oppression.

Fact finding missions that are sponsored by Israel, complicit Israeli institutions or lobby groups cannot but whitewash Israel’s regime of oppression against Palestinians. 

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COMMON SENSE BOYCOTTS

While an individual’s freedom of expression should be consistently respected, an individual artist/writer, Israeli or otherwise, cannot be exempt from being subject to “common sense” boycotts (beyond the scope of PACBI’s institutional boycott criteria) that conscientious citizens around the world may call for in response to an artist’s complicity in, responsibility for, or advocacy of grave violations of international law (such as war crimes or other grave human rights violations), racial violence, or racial slurs. Many Israeli artists have incited to genocide, and may have participated in war crimes. They should be properly investigated and, if warranted, held legally accountable.

FAQ

In 2004, the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI) called for a boycott of Israeli academic and cultural institutions. It is a founding member of the Palestinian BDS National Committee (BNC) and is tasked with leading and guiding the academic and cultural boycotts. 

The cultural boycott was called for in response to the active involvement of Israeli cultural institutions in maintaining and whitewashing Israel’s regime of settler-colonialism, apartheid and military occupation. It urges individuals and organizations to boycott complicit Israeli cultural institutions, and calls on artists to refuse to perform or exhibit in apartheid Israel or at events sponsored by Israel, its complicit institutions or its lobby groups. 

The cultural boycott of apartheid South Africa was a key inspiration for the Palestinian boycott calls and their criteria, despite some crucial differences. In particular, the Palestinian boycott, unlike the South African cultural boycott, is institutional and does not target individuals as such. There is a growing number of anti-Zionist Israelis who support BDS, including the cultural boycott of Israel.

Cultural institutions are part and parcel of the ideological and institutional scaffolding of Israel’s regime of settler-colonialism, apartheid and military occupation against the Indigenous Palestinian people. Israeli cultural institutions (including performing art companies, music groups, film organizations, writers’ unions and festivals) have cast their lot with official Israeli policy. Notwithstanding the efforts of a handful of principled individual artists, writers and filmmakers, these institutions actively justify and support Israel’s crimes and systematic denial of Palestinian human rights. Whether through silence or direct participation in the government-led “Brand Israel” propaganda campaign, Israeli cultural institutions help to whitewash, and therefore maintain, the regime of colonial oppression. 

For instance, well before Israel’s Gaza genocide Israel’s image took a steep dip after its weeks-long massacre in Gaza in 2008/09. This prompted the Israeli government to throw more money into the Brand Israel propaganda campaign to artwash the massacre. A top Israeli foreign ministry official told the New York Times, “We will send well-known novelists and writers overseas, theater companies, exhibits. This way you show Israel’s prettier face.” 

Following the onset of its genocide in Gaza, Israeli officials have announced an additional $150 million for its 2025 budget for “consciousness warfare,” or propaganda, according to the Israeli foreign minister.

In 1984, Enuga S. Reddy, Director of the UN Centre Against Apartheid, said at a press briefing:

“We have a list of people who have performed in South Africa because of ignorance of the situation or the lure of money or unconcern over racism. They need to be persuaded to stop entertaining apartheid, to stop profiting from apartheid money and to stop serving the propaganda purposes of the apartheid regime.”

Similarly, a boycott of complicit Israeli cultural institutions is well justified by their deep involvement in whitewashing, justifying and even advocating for war crimes, crimes against humanity, and genocide, the crime of crimes.

Boycott, at the most fundamental level, constitutes “withdrawing … cooperation from an evil system,” as Martin Luther King, Jr. said. In turn, BDS calls on people of conscience and their institutions to fulfill their moral obligation to end complicity in Israel’s system of oppression.

The cultural boycott of Israel is institutional and conforms to the definition of freedom of expression as stipulated in the United Nations’ International Covenant on Civil and Political Rights (ICCPR). BDS rejects censorship and upholds the universal right to freedom of expression. The BDS movement, including PACBI, is anchored in precepts of international law and universal human rights. It rejects on principle boycotts of individuals based on their identity (such as citizenship, race, gender, or religion) or opinion. Mere affiliation of Israeli cultural workers to an Israeli cultural institution is therefore not grounds for applying the boycott.

Yes. You can read the Guidelines for the International Cultural Boycott of Israel under BDS guidelines on the main navigation. If you need further advice or guidance in navigating a grey-area case, as many cases tend to be, please contact us at: [email protected].


 


 

No. Our cultural boycott targets institutions, not individuals. An exception is when an individual cultural worker is an official representative of the state or a complicit Israeli cultural institution or acts as a cultural ambassador for apartheid Israel. International cultural events (whether of an individual artist or a group) that are sponsored or funded by the Israeli state, complicit Israeli institutions or an Israel lobby group should be boycotted. 

Further, an individual artist/writer, Israeli or otherwise, cannot be exempt from being subject to “common sense” boycotts that may be called for in response to egregious individual complicity in, responsibility for, or advocacy of war crimes or other grave human rights violations; incitement to racial violence; etc. At this level, Israeli cultural workers should be treated like all other offenders in the same category, not better or worse.

Many Israeli artists have incited to genocide, and may have participated in Israel’s war crimes and crimes against humanity. They should be properly investigated and, if warranted, held legally accountable.

In 1984, Enuga S. Reddy, Director of the UN Centre Against Apartheid, said at a press briefing:

“We have a list of people who have performed in South Africa because of ignorance of the situation or the lure of money or unconcern over racism. They need to be persuaded to stop entertaining apartheid, to stop profiting from apartheid money and to stop serving the propaganda purposes of the apartheid regime.”

Israel uses appearances by international artists as a stamp of approval for its genocidal regime of settler-colonialism, apartheid and military occupation. Irrespective of visiting artists’ intentions, their performances, screenings and exhibitions are used to cover up Israel’s atrocity crimes and grave human rights violations. 

Performing in Tel Aviv today is the equivalent of performing in Sun City in South Africa during the apartheid era. The late Archbishop Desmond Tutu, a leader of the South African anti-apartheid struggle, has repeatedly declared that Israel’s apartheid system is comparable to -- if not worse than -- apartheid in South Africa. When the Cape Town Opera crossed the Palestinian BDS picket line in 2010 and performed in Tel Aviv, Tutu wrote, “just as we said during apartheid that it was inappropriate for international artists to perform in South Africa in a society founded on discriminatory laws and racial exclusivity, so it would be wrong for Cape Town Opera to perform in Israel.”

The claim that the boycott would hurt Israeli artists who are “largely progressive,” aside from being quite disingenuous and based on a false premise, is in fact intended to deflect attention from three basic facts. 

First, the boycott was called for because apartheid Israel was perpetrating atrocity crimes against Indigenous Palestinians and denying them their basic rights, including cultural rights and freedoms. Second, the Palestinian cultural boycott of Israel targets institutions, not individuals. Third, those institutions, far from being more progressive than the average in Israel, are a pillar of the Israeli structure of colonial and apartheid oppression. The absolute majority of Jewish-Israelis, including artists, deny the basic UN-stipulated rights of the majority of the Palestinian people—the refugees—and support maintaining Israeli apartheid. 

In fact, an authoritative Israeli poll published on 10 November 2023, weeks into the genocide and after Israeli forces had already killed over 10,000 Palestinians in Gaza, almost half of them children, a shocking total of over 94% of Jewish Israelis said that the “IDF” was using “too little firepower in Gaza” or “an appropriate amount” of firepower. 

Yes! Many factors point to the success of the cultural boycott of Israel.

The Israeli government has invested significant resources to fight the growing cultural boycott of Israel. Israel realizes that its cultural isolation is increasing as BDS goes mainstream.

Among the tens of thousands of individuals and hundreds of organizations that have publicly endorsed or heeded the cultural boycott are many prominent artists, writers and public intellectuals include the late Stéphane Hessel (Holocaust survivor and contributor to the 1948 Universal Declaration of Human Rights); John Berger; Arundhati Roy; Lauryn Hill, Judith Butler; Naomi Klein; Ken Loach; Angela Davis; The Roots; Mira Nair; Sally Rooney; Roger Waters; Lorde; Snoop Dogg; Khaled Hosseini; Brian Eno; Sam Smith; Jean Luc Godard; Miriam Margolyes; Elvis Costello; Jane Campion; Gil Scott Heron; Faithless; Zakir Hussain; Mike Leigh and many others.  

Yes! Many factors point to the success of the cultural boycott of Israel.

The Israeli government has invested significant resources to fight the growing cultural boycott of Israel. Israel realizes that its cultural isolation is increasing as BDS goes mainstream.

Highlighting her commitment to “justice and peace,” the iconic US R&B singer Lauryn Hill cancelled a scheduled performance in Tel Aviv in 2015, after appeals from Palestinian, Israeli, and international BDS activists.

Distinguished artists, writers and public intellectuals who have endorsed or heeded the cultural boycott include the late Stéphane Hessel, Holocaust survivor and contributor to the 1948 Universal Declaration of Human Rights; John Berger; Arundhati Roy; Judith Butler; Naomi Klein; Ken Loach; Alice Walker; Angela Davis; Mira Nair; Roger Waters; Snoop Dogg; Brian Eno; Jean Luc Godard; Elvis Costello; Gil Scott Heron; Faithless; Zakir Hussain; Mike Leigh and many others.  

Last year, almost a thousand cultural figures in Britain signed a pledge in support of the cultural boycott of Israel, following similar initiatives in Montreal (Canada), Ireland, and South Africa. ​

Yes, there is a major difference. BDS calls for a boycott of Israeli institutions, not individuals. The South African boycott was a blanket boycott that targeted both institutions and individuals. Those who are still reluctant, on principle, to support a boycott that expressly targets Israel's cultural institutions while having in the past endorsed, or even struggled to implement, a much more sweeping boycott against apartheid South Africa’s artists and cultural institutions are hard pressed to explain this peculiar inconsistency.

Anti-Zionist Israeli BDS activists have played an important role in calling on international artists to cancel performances in Tel Aviv and to refrain from otherwise lending their names to whitewash Israeli apartheid. You can get in touch with our anti-colonial Israeli partner, Boycott from Within, for more information.

No. PACBI rejects censorship and subscribes to the internationally-accepted definition of freedom of expression as stipulated in the United Nations’ International Covenant on Civil and Political Rights (ICCPR). The BDS movement, including PACBI, rejects on principle boycotts of individuals based on their identity (such as citizenship, race, gender, or religion) or opinion. Mere affiliation of Israeli cultural workers to an Israeli cultural institution is therefore not grounds for applying the boycott. 

If, however, an individual is representing the state of Israel or a complicit Israeli institution, or is commissioned/recruited to participate in Israel’s efforts to “rebrand” itself, then their activities are subject to the institutional boycott the BDS movement is calling for.

BDS is the most effective strategy of solidarity with the struggle for Palestinian rights. It is what the overwhelming majority of Palestinian civil society organizations have called for.

 

There are many ways to support the cultural boycott of Israel depending on your location, affiliation, and level of precarity. The BDS movement operates on the principle of context sensitivity, meaning that local organizers know best how to support the boycott, while respecting the Palestinian-set guidelines. Cultural workers and organizations have worked towards canceling events that violate the boycott, for example. Others have organised mass pledges of artists in support of the boycott. You can contact PACBI to discuss ideas: [email protected]

LATEST NEWS

SXSW: End Your Complicity!

SXSW: End Your Complicity!

United Musicians and Allied Workers (UMAW), Austin for Palestine Coalition (AFP) and the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI) call on SXSW to adopt an ethical policy on programming and partnerships.

PACBI calls for pressure on Live Nation Entertainment to drop its complicit Israeli subsidiary

FAQs on PACBI's call for pressure on Live Nation

Frequently asked questions on the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI)'s call for pressuring Live Nation Entertainment to drop its complicit Israeli subsidiary, Live Nation Israel.

PACBI calls for pressure on Live Nation Entertainment to drop its complicit Israeli subsidiary

Live Nation: Artwashing Israel’s Live-Streamed Genocide

PACBI calls for pressure on Live Nation Entertainment, including strategic, targeted boycotts, until it takes meaningful steps to account for its deep complicity in Israel’s ongoing genocide in Gaza—especially by dropping its subsidiary Live Nation Israel…