Last year saw the release of Kneecap, a fictionalized account of the real-life West Belfast-based Irish language rap group of the same name. The group is know for their bombastic, irreverent take on politics in the North of Ireland and their advocacy for the Irish language, which faced centuries of suppression under British colonial rule. Longtime advocates for Palestine, Kneecap has made headlines recently for their on-stage statements at Coachella in support of Gaza. Last week, UK prosecutors charged band member Mo Chara with a terrorism-related offense for allegedly displaying a Hezbollah flag at a show and chanting in support of Hezbollah and Hamas—part of a global trend in which pro-Palestinian speech is conflated with material support for terror. (The band has released a series of statements distancing themselves from calls for violence against civilians and redirecting attention to the ongoing genocide in Gaza.)

This episode of On the Nose, hosted by contributing writer Rebecca Pierce, uses the Kneecap film as a jumping-off point for discussing the relationship between language reclamation, nationalism, and resistance. Joining her is scholar of Sephardic studies and Ladino speaker Devin Naar, and Yiddish-language musicians and culture workers Isabel Frey and Ira Temple. They discuss Kneecap’s advocacy for speaking Irish, the place of music and language in both national and decolonial movements, and the connections between such movements and Jewish efforts to preserve Ladino and Yiddish.

Thanks to Jesse Brenneman for producing and to Nathan Salsburg for the use of his song “VIII (All That Were Calculated Have Passed).”

Articles and Social Media Posts Mentioned

Di fliendeke pave, Isabel Frey

Ira Temple

Ya Ghorbati, Laura Elkeslassy

“Zog nit keyn mol,” Yiddish partisan song

Kneecap speaking out on anti-immigrant riots in Belfast

“How Irish diplomats reacted to Bernadette Devlin's 1969 US tour,” Melissa Baird, RTE

Kneecap on sectarianism

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