The Sydney Biennale is under fire after a performance by US-based DJ Haram included lyrics that have been widely condemned as antisemitic. The controversy centers around remarks made during her set at the opening night event at White Bay Power Station, where she referenced a “Zio-Australian-Epstein empire” and voiced support for Palestinian resistance. The incident has prompted strong reactions from Jewish groups and NSW Premier Chris Minns, even as raising questions about funding for the arts festival.
DJ Haram, whose real name is Zubeyda Muzeyyen, is an electronic music producer and DJ originally from New Jersey, now based in Brooklyn, NY. Known for her eclectic style blending experimental bass, club music and Middle Eastern instrumentation, she also performs as one half of the hip-hop/noise project ‘700 Bliss’ with Moor Mother. Her performance at the Biennale, however, overshadowed her musical contributions, sparking a debate about the boundaries of artistic expression and the responsibility of publicly funded institutions.
Premier Chris Minns has ruled out cutting funding to the Biennale despite the outcry. He stated that withdrawing funding would only amplify the controversial remarks, adding, “We expect cultural and arts institutions to leverage taxpayer funds to represent every member of our community and not be a platform for hate.” According to the Biennale of Sydney’s latest annual report, over 50% of its funding – totaling $3.197 million in 2024 – comes from commonwealth, NSW, and City of Sydney grants. The Guardian reports that Minns expects institutions seeking future funding to demonstrate inclusivity.
Controversial Remarks and Accusations of Antisemitism
The core of the controversy lies in DJ Haram’s claim that a “Zio-Australian-Epstein empire” is responsible for silencing dissenters. Critics argue this phrasing links Israel to convicted sex offender Jeffrey Epstein and perpetuates longstanding antisemitic tropes. The performance also included references to “martyrs” and condemnation of “global complicity” in what she described as a “genocide” against the people of Gaza, as well as chanting the phrase “from the river to the sea, Palestine will be free.” The Australian Financial Review detailed the five-minute diatribe, highlighting the inflammatory language used.
David Ossip, president of the NSW Jewish Board of Deputies, called the remarks “pure antisemitism” and questioned the Biennale board’s oversight, stating they had “serious questions to answer” about allowing the festival to become “a platform for such hate.” Alex Ryvchin, co-chief executive of the Executive Council of Australian Jewry, suggested the artist’s “slogans” overshadowed her music, questioning the Biennale’s decision to provide a platform for what he termed “lame antics.” Jillian Segal, the Special Envoy to Combat Antisemitism in Australia, expressed concern over the impact of the remarks on the Jewish community and emphasized the Biennale’s obligation to ensure inclusivity.
Biennale Response and Ongoing Review
The Biennale has initiated an internal review into DJ Haram’s statements. In a statement, organizers said it was “inappropriate to comment” on the review while it is underway, reiterating their commitment to lawful discourse and an inclusive environment. NSW Arts Minister John Graham described the comments as “inflammatory and wrong” and stated the Biennale needs to demonstrate how it will ensure Jewish audiences feel welcome. The Daily Telegraph reports that a police complaint has been filed regarding the remarks.
The incident has also prompted calls for a review of DJ Haram’s visa status. The Biennale’s chief executive, Barbara Moore, board chair Kate Mills, and artistic director Hoor Al Qasimi have issued statements acknowledging the concerns and confirming the review process.
As the Biennale conducts its internal review, the incident raises broader questions about the role of art in political discourse and the responsibilities of publicly funded cultural institutions to foster inclusivity and respect for all communities. The outcome of the review and any potential consequences for DJ Haram or the Biennale remain to be seen, but the controversy has undoubtedly sparked a critical conversation about the intersection of art, politics, and social responsibility.
What comes next will likely involve the Biennale presenting the findings of its internal review and outlining steps to address the concerns raised by Jewish community leaders. Continued dialogue between the Biennale and representatives from the Jewish community will be crucial in rebuilding trust and ensuring a welcoming environment for all attendees. The incident also underscores the demand for clear guidelines regarding acceptable speech at publicly funded events.
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