NSW Biennale Funding Safe After Artist’s ‘Antisemitic’ Comments
Sydney’s Biennale arts festival is facing scrutiny after a performance by US-based DJ Haram included lyrics that have been widely condemned as antisemitic. The controversy has prompted strong reactions from Fresh South Wales Premier Chris Minns and Jewish community leaders, but despite calls for action, Minns has ruled out cutting funding to the festival.
The core of the issue lies in DJ Haram, whose real name is Zubeyda Muzeyyen, referencing a “Zio-Australian-Epstein empire” during her set at the White Bay Power Station on Friday night. This phrase, critics argue, draws a dangerous connection between Israel, convicted sex offender Jeffrey Epstein, and a perceived network of power silencing dissent. The lyrics were part of a broader performance expressing solidarity with Palestinian resistance, referencing “martyrs,” and condemning “global complicity” in what the artist described as a “genocide” against the people of Gaza. She as well chanted the phrase “from the river to the sea, Palestine will be free.”
Premier Minns described the rhetoric as “horrid” and “distressing,” particularly in light of the December terror attack at Bondi beach during a Hanukkah event, where 15 people were killed. However, he defended the decision to maintain funding for the Biennale, arguing that withdrawing support could inadvertently amplify the artist’s message. “Getting into a cycle where we threaten to pull arts and cultural funding has the perversely opposite effect,” Minns stated. “What ends up happening is you shine a spotlight on the person who’s responsible for saying it, and it draws more attention, not less.” He emphasized the expectation that cultural institutions utilizing taxpayer funds should represent all members of the community and not serve as platforms for hate.
The Biennale receives substantial government funding, totaling $3.197 million in 2024 from commonwealth, NSW, and City of Sydney grants. NSW Arts Minister John Graham echoed the condemnation of the remarks, calling them “inflammatory and wrong” and initiating discussions with Biennale organizers on how to ensure Jewish audiences feel welcome.
Jewish community groups have been vocal in their criticism. David Ossip, president of the NSW Jewish Board of Deputies, stated that the Biennale board has “serious questions to answer” regarding how the festival allowed such rhetoric to be expressed. He specifically labeled the “Zio-Australian-Epstein empire” reference as “pure antisemitism” and criticized the use of public funds to support an event that provided a platform for what he described as hate speech. Alex Ryvchin, co-chief executive of the Executive Council of Australian Jewry, suggested that the artist’s actual musical contribution was overshadowed by her “slogans,” questioning the Biennale’s decision to showcase such material.
Jillian Segal, Australia’s Special Envoy to Combat Antisemitism, expressed concern over the impact of the remarks on the Jewish community and emphasized the Biennale’s responsibility to consider the potential consequences of its performers’ statements on social cohesion. “No community should feel unwelcome or targeted at publicly funded cultural events,” she said.
The Biennale itself has acknowledged the controversy and announced an internal review of DJ Haram’s statements. In a statement, organizers affirmed their commitment to lawful discourse and inclusivity, stating that all public discussions on their platforms must adhere to their code of conduct. They declined to provide further comment while the review is underway.
The incident raises broader questions about the balance between artistic freedom and the responsibility of publicly funded institutions to avoid promoting hate speech. Premier Minns’s decision to maintain funding, despite the offensive remarks, reflects a calculated approach aimed at preventing further amplification of the controversial message. However, the strong condemnation from Jewish community leaders and the call for accountability suggest that the Biennale will face continued pressure to address the concerns raised and demonstrate a commitment to inclusivity and respect for all communities.
The Biennale’s internal review will be closely watched, as its findings could shape future programming decisions and potentially influence the criteria for selecting artists and performers. The incident also underscores the increasing sensitivity surrounding discussions of the Israeli-Palestinian conflict and the potential for artistic expression to be interpreted as antisemitic or Islamophobic, depending on the context and language used.
As of , Guardian Australia’s attempts to reach DJ Haram for a response have been unsuccessful.