Washington
Noa Argamani is not a political pawn, she can make her own decisions – editorial
Noa Argamani became a symbol of the October 7 attacks after harrowing footage of her abduction by Hamas terrorists went viral.
The distressing video showed Noa being forcibly taken away on a motorcycle from the Supernova music festival, screaming for mercy. This heart-wrenching imagery quickly captured global attention, emphasizing the human toll of the conflict and making her one of the most recognizable faces among the hostages taken that day.
Argamani’s captivity lasted 245 days – just over eight months – during which her image continued to evoke strong emotional responses worldwide. Her dramatic rescue by Israeli forces on June 8, 2024, further solidified her status as a symbol of resilience and hope amid the brutal conflict.
Recently rescued from the horrors of Hamas captivity, Argamani’s decision to accompany Prime Minister Benjamin Netanyahu to Washington on Monday has sparked a fiery debate.
Critics accuse her of being a pawn in a political game, but this perspective overlooks a fundamental truth: Argamani, above all, deserves the autonomy to make her own decisions.
Among the harsh criticisms, journalist Uri Misgav wrote, “Noa Argamani and her father should be ashamed until their last day for agreeing to serve as a backdrop for this crazy and smiling couple’s flight, especially on the morning we learned of two more captives who were unlucky enough to die in captivity and not fly to Washington with the captives’ abandoner. A shame like no other.”
Overlooking Argamani’s personal struggle
Another critic, veteran journalist Dan Margalit, echoed these sentiments, posting on X, “Joining Uri Misgav, shame on Noa Argamani and her father for willingly serving as a backdrop for Bibi’s display in Washington.”
To those who criticize Argamani’s participation in Netanyahu’s trip, we pose this question: Who are we to judge? The ordeal of captivity is unimaginable. The trauma, the constant fear, and the longing for freedom are experiences that no one can fully comprehend unless they have walked in those shoes. For Argamani, every decision she makes now is deeply personal and rooted in her quest for meaning and justice for the hostages still languishing in Gaza – and for her own recovery.
It is important to recognize the historical significance of this trip. The potential outcome – the release of 120 hostages – cannot be understated. Argamani’s presence is not just symbolic; it is a powerful reminder of the human lives at stake. Critics argue that she is being used by Netanyahu, but even if there is a political undertone, the ultimate goal remains noble. The liberation of hostages should transcend political divides and be a cause that unites us all.
Argamani’s critics should also consider the broader implications of their attacks. Unity, especially in times of conflict, is paramount. The venomous words directed at her serve only to deepen divisions and detract from the collective goal of securing the release of all hostages. Instead of tearing down a survivor who has already endured so much, we should rally behind her, offering support and solidarity.
Moreover, Argamani’s decision to join this trip is not just about politics; it is about leveraging every possible platform to advocate for those still in captivity. Her boyfriend remains among the hostages. Her presence in Washington is an opportunity to amplify her plea for their release. It is a chance for her to speak directly to those in power, to ensure that the plight of the hostages is not forgotten amidst political maneuvering.
The criticism leveled against Argamani is not just unfair; it is a reflection of a broader societal issue. It is far too easy to sit in judgment, to cast aspersions from the comfort of detached observation. But true empathy requires us to support those who have suffered, to uplift their voices rather than silence them with criticism.
Argamani has the right to make her own choices. She has earned that right through unimaginable suffering and resilience. Let us respect her decisions, whether or not we agree with them, and recognize that she, more than anyone, understands the stakes involved.
Walla News journalist Liat Ron summarized this situation in the most blunt and direct way: “The hostages and their families are allowed to do anything, and we all need to shut up.”
DE Dawuane Smoot, LB Foyesade Oluokun, TE Brenton Strange, S Eric Murray, and S Antonio Johnson speak with the media after practice on Thursday ahead of the Wild Card Matchup vs. Bills.
0:00 – 2:28 – DE Dawuane Smoot
2:29 – 6:24 – LB Foyesade Oluokun
6:25 – 9:25 – TE Brenton Strange
9:26 – 11:32 – S Eric Murray
11:33 – 13:46 – S Antonio Johnson
DUBAI, Jan 11 (Reuters) – Iran warned President Donald Trump on Sunday that any U.S. attack would lead to Tehran striking back against Israel and regional U.S. military bases as “legitimate targets”, Parliament Speaker Mohammad Baqer Qalibaf told parliament.
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Reporting by Dubai Newsroom; Editing by William Mallard
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Washington
Washington National Opera cuts ties with the Kennedy Center after longstanding partnership | CNN Politics
The Washington National Opera on Friday announced it is parting ways with the Kennedy Center after more than a decade with the arts institution.
“Today, the Washington National Opera announced its decision to seek an amicable early termination of its affiliation agreement with the Kennedy Center and resume operations as a fully independent nonprofit entity,” the opera said in a statement.
The decoupling marks another high-profile withdrawal since President Donald Trump and his newly installed board of trustees instituted broad thematic and cosmetic changes to the building, including renaming the facility “The Donald J. Trump and The John F. Kennedy Memorial Center for the Performing Arts.”
The opera said it plans to “reduce its spring season and relocate performances to new venues.”
A source familiar with the dynamic told CNN the decision to part ways was made by the opera’s board and its leadership, and that the decision was not mutual.
A spokesperson for the Kennedy Center said in a statement, “After careful consideration, we have made the difficult decision to part ways with the WNO due to a financially challenging relationship. We believe this represents the best path forward for both organizations and enables us to make responsible choices that support the financial stability and long-term future of the Trump Kennedy Center.”
Kennedy Center president Richard Grenell, who was appointed by Trump’s hand-picked board, said on X, “Having an exclusive relationship has been extremely expensive and limiting in choice and variety.”
Grenell added, “Having an exclusive Opera was just not financially smart. And our patrons clearly wanted a refresh.”
Since taking the reins at the center, Grenell has cut existing staff, hired political allies and mandated a “break-even policy” for every performance.
The opera said the new policy was a factor in its decision to leave the center.
“The Center’s new business model requires productions to be fully funded in advance—a requirement incompatible with opera operations,” the opera said.
Francesca Zambello, the opera’s artistic director, said she is “deeply saddened to leave The Kennedy Center.”
“In the coming years, as we explore new venues and new ways of performing, WNO remains committed to its mission and artistic vision,” she said.
The New York Times first reported the opera’s departure.
Founded in 1956 as the “Opera Society of Washington,” the group has performed across the district, taking permanent residency in the Kennedy Center in 2011.
The performing arts center has been hit with a string of abrupt cancellations from artists in recent weeks including the jazz group The Cookers and New York City-based dance company Doug Varone and Dancers who canceled their performances after Trump’s name was added to the center – a living memorial for assassinated President John F. Kennedy.
The American College Theater Festival voted to suspend its relationship with the Kennedy Center, calling the affiliation “no longer viable” and citing concerns over a misalignment of the group’s values.
American banjo player Béla Fleck withdrew his upcoming performance with the National Symphony Orchestra, saying that performing at the center has become “charged and political.”
The Brentano String Quartet, who canceled their February 1 performance at the Kennedy Center, said they will “regretfully forego performing there.”
CNN has reached out to the Kennedy Center on the additional cancellations.
The opera said, “The Board and management of the company wish the Center well in its own future endeavors.”
CNN’s Betsy Klein and Nicky Robertson contributed to this report.
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