Content warning: This article contains descriptions of sexual assault and violence. It also contains remarks from Israeli government officials demeaning the Palestinian people.

In an April 12, 2024 article, The Hilltop Monitor implied that acts of sexual violence committed by Hamas towards Israelis on Oct. 7 were called into question. There is substantial evidence, including from a United Nations report, that such acts did occur. It is crucial in journalism to believe victims of sexual violence and assault. The story should have reflected that different government officials and media outlets disagree on reports of weaponized rape.

A corrected version of the story is below:

This is the third article published in The Hilltop Monitor about the Israel-Hamas conflict. See also Alee Dickey’s October 2023 opinion piece on the initial Hamas attacks and the first article in my series on the origins and objectives of the conflict from Feb. 9, 2024.

Conflict Renews

“On the morning of Oct. 7,” Dickey’s article begins, “around 2,200 rockets raced toward southern and central Israel. The rockets targeted sites like the Nova Music Festival where attendees were forcibly taken as hostages; later, at least 260 bodies were discovered.” Since the publication of Dickey’s article, more facts have come to light about the initial attacks from Hamas.

According to Reuters, the initial attacks were multifaceted. Hamas rockets were merely the first strike of several. Two hours later, Hamas militants broke down barriers separating Gaza from southern Israel. The attacks caught several Israeli military bases off-guard in what can only be described as a severe intelligence failure; neither Israeli nor Western intelligence agencies foresaw these attacks.

The results were horrific. Witnesses at the Nova festival, a significant target of Hamas attacks, described rape, mutilation, and murder against civilians.

May Golan, Israel’s Women Empowerment Minister, told the BBC that she “spoke with at least three girls who are now hospitali[zed] for a very hard psychiatric situation because of the rapes they watched. They pretended to be dead and they watched it, and heard everything. And they can’t deal with it.”

It was reported that Hamas had ordered its militants to systematically rape Israeli women and girls. A December 2023 New York Times investigation found that “the attacks against [Israeli] women were not isolated events but part of a broader pattern of gender-based violence on Oct. 7.” 

Sexual violence did occur on Oct. 7; however, whether such violence was systematic on the part of Hamas is disputed. Independent investigations from the Intercept and Al Jazeera found significant problems with the New York Times investigation’s claims. The Intercept also reports that an episode of The Daily, a podcast created by the New York Times, covering the paper’s investigations failed to pass a fact check, and was not published as a result; Times representatives have denied this claim.

In the days that followed, Hamas claimed direct responsibility for the attacks. In an interview with NPR, senior Hamas official Ali Barakeh stated that the attacks were in response to “Israeli crimes against the Palestinian people in Jerusalem and the West Bank,” asserting that the attacks were retaliatory. The Hamas official did not specify in this interview what crimes he had been referring to, but Israel has committed many crimes in this region.

The Israeli military could not effectively respond to these attacks; military forces were disorganized, so a defensive response was not possible on Oct. 7. A separate New York Times investigation found that the Israeli army “was undermanned, out of position and so poorly organized that soldiers communicated in impromptu WhatsApp groups and relied on social media posts for targeting information.” 

Yaakov Amidror, a retired Israeli general, told that same New York Times investigation that there was no Israeli plan to address a Hamas attack, saying that “the army does not prepare itself for things it thinks are impossible.”

Israel’s subsequent retaliation, on the other hand, was anything but poorly organized.

Lockdown

Almost immediately after Oct. 7, Israel heightened its trade blockade of the Gaza Strip, an area to Israel’s south. Blockades are nothing new for Gaza, as Gaza has been under blockade since 2007. However, the pre-attack blockade still permitted essential services through. Now, the Israeli government denied those essential services access to Gaza. 

Two days after the Oct. 7 invasion, Israeli Defense Minister Yoav Gallant announced a total blockade of Gaza. The enhanced blockade represented “a complete siege … no electricity, no water, no food, no fuel.” Gallant added, “We are fighting human animals, and we act accordingly.”

About a week and a half later, on Oct. 21, Israel lifted parts of the blockade, allowing minimal amounts of humanitarian aid to enter Gaza via the Rafah border crossing in Egypt. Even so, Israel’s invasion has been devastating to Gaza’s economy and well-being. Over 30,000 Palestinians have lost their lives, and more Palestinians are being killed by Israel every day. As of the time of writing, this number nears 33,000 people.

According to Human Rights Watch and the United Nations, Palestinian welfare is rapidly diminishing. As of December 2023, 1.9 million people in Gaza are internally displaced. The term “internally displaced person,” according to the UN Commission for Human Rights, refers to any person who is forced to leave their home or residence as a direct result of armed conflict. Such people are often referred to as “refugees.” For reference, the population of Gaza is 2.2 million people: meaning that 85% of Gaza’s population is (or has been) displaced.

This devastation has led Doctors Without Borders’s International Secretary General, Christopher Lockyear, to tell the United Nations Security Council, “[Palestinians are suffering] repeated displacement, constant fear and witnessing family members literally dismembered before their eyes.” Young children, even as young as five, have told Doctors Without Borders that they would “prefer to die [instead of remaining in Gaza].”

Some claim that this blatant disregard for civilian life violates the laws of war. Despite Israel’s loosening of the blockade, around half a million Palestinians in Gaza are starving. Regardless of whether Israel has loosened the blockade, intentional starvation of civilians is forbidden under international law. Israel has been accused of genocidal actions at the International Court of Justice as well.

Conclusions & Series Map

An important takeaway from the above descriptions of the Israel-Hamas conflict is that this war is going to be complicated. Both Hamas and the Israeli government have disrespected the laws of war and each other. We should expect, then, for histories to be clouded, for tensions to be high, conditions for civilians to be brutal, and for overall mistrust and obscuring of a way out. In my next article, I’ll discuss war crimes committed by all sides of this conflict. Later articles will cover what I believe to be the solution.

What was your favorite song or dance from the show?

Ivan Calderon (Musidorus/Cleophila): “We didn’t play the full song in the show, but ‘Lust to Love’ is hands-down my favorite song. […] In the show, we get to add fight choreography to it, so it’s epic, it’s so much fun. Every time, I remember leaving—especially during tech week—leaving rehearsals just blasting ‘Lust to Love’ on repeat… That was my anthem throughout the week.”

Lianna Morelli (Mopsa): “My favorite song is probably ‘Automatic Rainy Day.’ My favorite dance, though, was the dance we did in “Head Over Heels,” which was the opening to Act 2. I just had a really good time with it.”

Cal Perkins (Dametas): “I have to say I’m torn between two. ‘Here You Are’ is my favorite song for sure. I just love the different harmonies and just the lyricism that’s beautiful with the actual motion. It’s tied with ‘Vision of Nowness’ for sure. I didn’t really get to dance in that, but it was so hard not to sing during it because that’s my favorite Go-Go’s song for sure.”

Who was your favorite character?

Calderon: “Standouts for me would be Basilius [played by Marquis Williams] and Pamela [played by Emma Kelly]. I like both of them a lot. For me, just being a scene partner, particularly with Emma, who played Pamela. Getting to witness the sass sometimes led me to almost breaking [character] on stage.”

Morelli: “Honestly, I just think [Queen] Gynecia [played by Kassidy Schmidt] is a badass. She put up with being cheated on for a really long time, and I love her character arc, and I love that she gets to take over the kingdom at the end.”

Perkins: “Basilius is definitely one of my favorite [characters]… Just being able to be on stage with Marquis and kinda just being there for the journey [that Basilius goes on] […] It’s just so fun to experience. I would honestly say I really do love Mopsa as a character. This is maybe the Demetas in me talking. [She’s] such a strong character and she is the more serious of [Mopsa and Pamela], but then again, she speaks to woodland animals. I mean, that’s baller, so I just love her character. She’s so fun.”

How did you handle playing a character that was less accepting of queer identity than you?

Perkins: “When I got cast [as Demetas], I was like, ‘Okay, this will be a change,’ and then realizing that he becomes an ally at the end was relieving, honestly. Aside from that, I have a lot of my family [that] doesn’t want to touch anything LGBTQ+ or anything of that sort. So I kind of had to think about what [my family] would think and what Demetas’s journey has been. It was a little interesting as someone who is trans/genderfluid, being on a stage and trying to play a cisgender man who exiled his partner and is realizing that his daughter is lesbian. The character arc was so interesting to play with and think about.”

What did you enjoy about the queer aspects of your characters?

Morelli: “Mopsa explores more of the sexuality part than the gender side of [queer identity].  It was interesting for me to try and find where Mopsa is in trying to get Pamela to have [the] realization [that she is a lesbian] because you see it throughout the show. Especially in the poetry scene, Pamela’s very close to realizing what it is that she wants. And Mopsa says, ‘You’re so close, you’re right there,’ and the whole time she’s trying to do it without being too pushy.”

Calderon: “I like how Musidorus subverted the trope of the heroic journey. He doesn’t really have the means to be a knight or a warrior or a hero of any standard means, but then he is bestowed this power [that we see in the fight scenes]. [Playing Musidorus] allowed me to not feel restricted on stage to any extent… as an actor, I just had a lot of fun on stage being confident in my body and myself and doing my thing.”

What do you hope audiences take away from the production?

Emma Kelly (Pamela): “The message I wanted to give is to be seen. I want people like this [i.e., queer people] to be seen. Pamela from the beginning—she loves herself, but she doesn’t know what else she loves. There’s clearly something missing, and I think there’s a lot of people out there that struggle with knowing that there’s something different but [not quite knowing] how to articulate it. […] A lot of times, people don’t know these relationships [exist] because they don’t actively see them… But a show like this is making people see [queer relationships] and hear about [them] in a way that is palatable—in a way that is understanding.”

Marquis Williams (Basilius): “Breaking traditions and change can benefit everything. Basilius is such a man of tradition. And the reasons why he made the decisions he made was that he felt threatened. He’s like, ‘I can run the kingdom.’ And that was in the beginning. But once he decided to accept change, that’s when everything ended [better than it was initially]. Change breaks traditions and breaks boundaries.”

Calderon: “I really wanted people to find entertainment from this [production]. […] Of course, we want our audience to enjoy themselves because then there’s that feedback and energy where we raise the state [of the show] or raise the energy as well. People who haven’t seen this kind of media before aren’t really used to seeing queer representation on stage. [Those people will] just find enjoyment in seeing it. […] To some extent, even though maybe there are some aspects where older audiences or more conservative audiences won’t really agree with certain aspects of the show, at least they’ll connect with it, which will allow that representation to be seen as good entertainment as well, but also in a way that’s done correctly and thoughtfully and meaningfully.”

Morelli: “There’s a line in the show that says, ‘No true paradise remains in place forever.’ I think that sums up what I want people to take from the show. […] Things change and things happen and you have to be accepting of that change. As people are discovering who they are, as people come out, as people make these self-discoveries, it’s so important for the people around them to just be there and be accepting and be loving and kind with the way they interact and they speak to them, no matter what they think about it. It’s good. Change can be good. Change encourages progress. And I think that to create the truest paradise we just have to be accepting.”

Concluding Thoughts

Jewell Theatre Company’s “Head Over Heels” was a breath of fresh air. The cast placed significant emphasis on queer representation in the show; seeing queer people and relationships in media is crucial to build a more accepting future. Plus, the company’s “Head Over Heels” production was good theater. I cannot wait to see what JTCo comes up with next! 

To see more performances from Jewell’s Department of Performing Arts, check the Department’s performance calendar here. You can also follow @jewelltheaterco on Instagram.

Loose Park

Tucked away in the heart of Kansas City lies Loose Park, a sprawling 75-acre. Meander through its lush greenery and discover the enchanting rose garden, home to over “3,000 roses of nearly 130 varieties.” Best of all, admission is free, making it an accessible retreat for all to enjoy.

Kansas City Ferris Wheel

For a unique perspective of the city, head to the Kansas City Ferris Wheel at Union Station. Climb aboard a private gondola, accommodating up to six people, and ascend to new heights as you marvel at panoramic views of the skyline. Tickets are $16.50 for adults. 

Tulip Festival

Escape the hustle and bustle of the city and embark on a countryside adventure at Fun Farm in nearby Kearney. There awaits the annual Tulip Festival from Apr. 5 to Apr. 28, a celebration of spring’s vibrant colors and natural beauty. With over 1.5 million tulips in full bloom, it’s a sight to behold and a photographer’s dream come true. Wander through endless fields of blossoms and pick your favorites to take home. Tickets are $21.95, offering access to a floral paradise.

Ewing and Muriel Kauffman Memorial Garden

Step into a peaceful world at the Ewing and Muriel Kauffman Memorial Garden, where art and nature intertwine in perfect harmony. Adorned with bronze sculptures by Tom Corbin, this tranquil garden boasts lush foliage, colorful blooms and playful fountains. With its free admission, it’s the ideal destination for those seeking serene moments amidst the beauty of spring.

River Market

Nestled just South of the Missouri River lies the historic River Market. Gather your friends and family at the heart of the region’s vibrant culture at The City Market, home to the area’s largest farmers market. Every Saturday and Sunday, year-round, over 140 stalls offer a cornucopia of fresh produce, flowers, delectable baked goods and an array of locally crafted treasures. 

First Fridays

Experience the pulse of creativity during First Fridays, a beloved tradition where, on the first Friday of every month, residents and visitors converge upon the Crossroads Arts District in Kansas City. Immerse yourself in the city’s artistic essence as galleries, studios and businesses showcase the works of local, regional, national and international artists. 

Pickleball

Dive into the vibrant world of pickleball, an outdoor sport that combines elements of tennis, badminton and ping pong. Whether you’re a seasoned player or a curious beginner, Kansas City offers several pickleball courts waiting to be explored. From community parks to recreational centers, you’ll find diverse venues catering to players of all skill levels. There are websites to discover the perfect court for your next match. 

Monarchs Baseball Game

Step into the exhilarating atmosphere of minor league baseball at a Monarchs game in Kansas City. Root for the home team as they battle it out on the diamond. Tickets have a large price range, so attending a Monarchs game is an accessible and enjoyable outing for individuals and groups alike.

Hiking at Burr Oak Woods

Embark on a journey of exploration and discovery amidst the natural splendor of Burr Oak Woods, full of rolling hillsides, lush woodlands and meandering trails. This nature reserve offers a sanctuary for outdoor enthusiasts. Here you can immerse yourself in the sights and sounds of the wilderness. Whether you’re an avid hiker or prefer a casual stroll, Burr Oak Woods is a great option with its scenic beauty and diverse ecosystems.