Disliking an artist’s work is not a reason to erase them from public life. Sacha Baron Cohen’s revival of Ali G may be crude, dated or simply unfunny. Audiences are free to avoid ‘Ali G: Who Iz I?’ Yet a campaign has generated more than 36,000 emails urging cinemas not to screen the film, while some online attacks have focused on Baron Cohen’s support for Israel.
The campaign calls Ali G a racist caricature. But the character is a dim-witted white man imitating urban street culture: the joke is his ignorance and pretension. People may still find that offensive, but the answer is criticism and choice, not pressuring cinemas to remove the choice altogether.
At the same time, Belfast actor Gerard McCarthy has withdrawn from a performance of the suicide-awareness play ‘Right Before I Go’ after Dame Maureen Lipman joined the cast, citing views she has expressed about Israel. Whatever one thinks of those views, refusing to share a stage with an actress because of her political opinions sets a preposterous standard. Must every cast now complete a questionnaire on geopolitical disputes before rehearsals begin?
There is a wider and more disturbing pattern here. Zionism, the belief that Jews have a right to self-determination in their historic homeland, is increasingly framed as inherently extremist. Jewish artists then face exclusion for holding views common among Jews, while inflammatory accusations replace argument.
This is not a mainstream public demand. It is often driven by a small, organised and intimidating minority. Venues should not make cultural decisions through fear of mass complaints, protests or disruption.
Free speech includes criticism, protest and boycott. It does not include frightening institutions and the public into obedience. Arguments should prevail through persuasion, not menace. Artists must remain free to work, venues to programme, and audiences to decide for themselves.
