disClosure: A Journal of Social Theory Volume 14 Incarnations Article 7 4-15-2005 Balagan and the Politics of Israel/Palestinian "Identity" Terri Ginsberg DOI: https://doi.org/10.13023/disclosure.14.07 Follow this and additional works at: https://uknowledge.uky.edu/disclosure Part of the Arts and Humanities Commons This work is licensed under a Creative Commons Attribution-Noncommercial 4.0 License. Recommended Citation Ginsberg, Terri (2005) "Balagan and the Politics of Israel/Palestinian "Identity"," disClosure: A Journal of Social Theory: Vol. 14 , Article 7. DOI: https://doi.org/10.13023/disclosure.14.07 Available at: https://uknowledge.uky.edu/disclosure/vol14/iss1/7 This Article is brought to you for free and open access by disClosure: A Journal of Social Theory. Questions about the journal can be sent to
[email protected] Balagan Terri Ginsberg German fascism; it is a hope shared nonetheless by both Palestinians Balagan and the Politics of and Israelis as well as by contemporary Germans vis-a-vis a pervasively belligerent U.S.-a hope which Balagan literally allegorizes by its Israel/Palestinian "Identity" peculiarly unstable, unsettled history. During her first interview with Veiel, which is also the first During an interview with Balagan's German director, Andres Veie~ interview in Balaga11, Madi, the child of a J e\vish-Czech Holocaust Israeli actress Smadar '1v1adi' Ma'ayan exclaims, "The Holocaust is the survivor, no\v married to A rbeil Macht Frei's director, David 'Dudi' new religion. It is the opium of the masses in Israel." Madi's Ma'ayan, describes her apparently Marxist exclamation and the ostensibly Marxist exclamation occurs at the beginning, and is repeated performance associated \vith it as a "provocation," a "blasphemy," a toward the conclusion, of Balagan ["Chaos" or " Big Mess"], an "doing the anti-" vis-a-vis tl1e sacralized memory of the Holocaust in acclaimed but obscure 1993 German documentary covering the Israel.