The Canadian Museum for Human Rights finally grapples with the Nakba

Source: ForeignAffairs4

Source: The Conversation – Canada – By Jonah Corne, Assistant Professor in the Department of English, Theatre, Film and Media, University of Manitoba

Even as it claims to champion the stories of global injustice, the Canadian Museum for Human Rights (CMHR) has struggled, if not refused, to meaningfully acknowledge Palestine for more than a decade.

Its newly announced exhibition to launch in the summer of 2026 — Palestine Uprooted: Nakba Past and Present — marks a significant reversal for an institution that has often been criticized for its silences.

The omission of Palestinian history dates all the way back to before the museum’s official opening in Winnipeg in 2014, when Palestinian-Canadian community advocate Rana Abdulla replied, fruitlessly, to the museum’s call for suggestions for content.

After years of continued advocacy from the Palestinian community in Winnipeg and across Canada — and in the midst of so much tragedy and what a UN commission of inquiry has called genocidal violence in Gaza — the announcement comes as a remarkable sliver of good news.

The development is also surprising because the museum, Canada’s first federal one located outside the nation’s capital, has historically had difficulties with the living legacy of settler colonialism — a key issue in discussions about Palestine — in Canada.

Prior to construction, the museum was criticized for failing to provide sufficient funds for a full excavation of the archeological heritage on the sacred Indigenous site where the museum is located. Until the stance was reversed in 2019, the museum had resisted describing the experience of Indigenous Peoples in Canada in terms of genocide.

Naming Palestinian dispossession

Bringing exhibition-level attention to the massive dispossession of Palestinians that occurred by the founding of the state of Israel in 1948 — an event known as al Nakba (Arabic for “the catastrophe”) — emerges as an ethically and educationally responsible move for the museum. It also signals a shift under CEO Isha Khan, who came on board in 2020 in the wake of the museum struggling to present an accountable and consistent message of human rights.

Despite its recent recognition of Palestinian statehood, the Canadian government has repeatedly resisted calls to grant the Nakba, and by extension Nakba Day, official acknowledgement. Neither has the Nakba had a place in the curricula of Canadian schools.

The CMHR’s Nakba exhibit therefore stands as an important repositioning in relation to these concerning national absences.

Of course, we don’t know how the exhibit — slated to involve oral histories, art and artifacts — will turn out. But judging only the title, the naming of the Nakba is immensely consequential and allows an opening to inquire further into the constellation of terms — dispossession, ethnic cleansing, settler colonialism, occupation and genocide — that cluster around it.

Meanwhile, the word “uprooted” to describe what befell 750,000 Palestinians in 1948 is, if perhaps muted, not inaccurate.

Holocaust memory and Nakba denial

Pro-Israel groups have predictably condemned the museum’s announcement of the exhibition in statements consistent with a trend of Nakba denial in mainstream pro-Israel discourse.

What underpins such a trend, implicitly or explicitly, is a Zionist narrative that sees the Holocaust as both radically unique and as the ultimate justification for the founding of the Israeli state.

Accordingly, to acknowledge the Nakba introduces a perceived impermissible rival to the Holocaust for suffering and remembrance, as well as a complicating factor that casts the founding of the Israeli state as something other than a strictly unimpeachable redemption for the Nazi genocide against Jews.

Attending to the Nakba requires that we see the creation of Israel as entailing a radical — and violent — escalation in a project of settler colonialism that, by 1948, had been underway for several decades, having received decisive momentum under the auspices of British colonialism from the Balfour Declaration of 1917.

This history deserves to be recognized, first and foremost for the sake of Palestinians living in and outside of Palestine who continue to endure the Nakba’s rippling aftermath. In addition, historical ignorance and amnesia are detrimental for the well-being of a society. Not to mention, the CMHR has an extensive and permanent Holocaust gallery.

This new exhibit might also help us to consider the ways in which the Holocaust and the Nakba can be thought of in constructive relation to one another. Such co-thinking is part of the project of an edited collection of essays, The Holocaust and the Nakba: A New Grammar of Trauma and History, where in the foreword, the late Lebanese intellectual, novelist and longtime activist for Palestinian liberation, Elias Khoury, articulates a compelling moral argument.

Khoury movingly affirms:

“The Holocaust is my responsibility as a member of the human race, despite it having been a product of European fascism. As such, my deeply ingrained moral duty is to be an active participant in the struggle against antisemitism as well as all other forms of racism anywhere in the world. This path leads me to continue the struggle against the Zionist colonialist occupation project in Palestine. Two wrongs do not make a right, one crime does not wipe out another, and racism is not remedied by counterracism.”

Khoury’s argument is consistent with what I have come to extract from the well-known mantra of Holocaust education, “never again.” I take the mantra’s lack of a specified referent as an open space where, without the burden of exact equation-drawing, one can speak out against racist, oppressive, eliminationist logics in any form that they may appear.

Historical accuracy and relevancy

Something must also be said about the claims by pro-Israel groups that the CMHR Nakba exhibition will be invalidatingly one-sided because of inattention to the Jewish (Mizrahi and Sephardi) displacement from Middle Eastern and North African countries in the wake of 1948.

The larger regional repercussions of the founding of the Israeli state bear no pertinence to the Palestinians’ own experience of dispossession: the focus of the exhibition and a topic that has been historically overlooked.

Moreover, the exoduses that occurred in Iraq, Yemen, Morocco and elsewhere were not perpetrated by Palestinians, so the call for “balance” in considering the Nakba vis-à-vis Mizrahi and Sephardi refugeehood is a non-starter.

In the face of such baseless attempts to cast doubt on the credibility of the exhibit, I hope that the CMHR will hold the line.

With its long overdue decision to engage substantially with Palestinians, who continue to endure a world-shaking crisis of displacement, occupation and genocide, the institution sets out on a crucial journey towards reestablishing its own credibility and fulfilling its ambitious aim of serving as a leading, capaciously inclusive space for exploring and educating about human rights.

Jonah Corne does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

– ref. The Canadian Museum for Human Rights finally grapples with the Nakba – https://theconversation.com/the-canadian-museum-for-human-rights-finally-grapples-with-the-nakba-270351