Festival Controversy Hits Adelaide Festival Over Writer Removals

Published: 11 January 2026. The English Chronicle Desk. The English Chronicle Online.

The Adelaide festival controversy has reignited national debate over artistic freedom and cultural sensitivity. The festival controversy emerged after South Australia’s premier, Peter Malinauskas, noted that the Adelaide Festival had previously removed a Jewish columnist in 2024 despite pressure from ten academics, including Randa Abdel-Fattah. This statement highlighted perceived inconsistencies in how the festival board treated Thomas Friedman in 2024 versus Abdel-Fattah in 2026. Observers suggest that the current festival controversy reflects broader tensions between public pressure, political influence, and ethical responsibilities in programming decisions at major cultural events.

In 2024, Abdel-Fattah and nine other academics formally requested the festival withdraw Thomas Friedman, a New York Times columnist, following a column comparing Middle Eastern conflicts to the animal kingdom. The festival board rejected this petition, emphasizing the organisation’s reputation and commitment to artistic freedom. A letter dated 9 February 2024, signed by Adelaide Festival chair Tracey Whiting, explained that cancelling an artist was an extremely serious action. Friedman was scheduled to contribute online, and his absence resulted from last-minute scheduling conflicts, not censorship.

Abdel-Fattah has strongly criticised her removal from the 2026 festival, calling it “blatant and shameless” anti-Palestinian racism. She rejected accusations of hypocrisy, noting her previous call for Friedman’s exclusion in 2024 due to dehumanising and discriminatory language. Abdel-Fattah highlighted that Friedman’s column compared Arab and Muslim nations to insects and vermin, analogies historically used against Jewish people. She contrasted this with her own cancellation, which she claimed was based solely on her Palestinian identity and advocacy, further intensifying the festival controversy.

Premier Malinauskas reiterated his support for the board’s decision to remove Abdel-Fattah, framing it as consistent with past actions regarding Friedman. News outlets noted the stark contrast in public response: Friedman’s alleged removal in 2024 did not provoke mass withdrawals, while Abdel-Fattah’s cancellation prompted more than seventy participants to withdraw, amplifying the festival controversy and raising concerns over fairness in programming decisions.

Festival board statements emphasised that Abdel-Fattah’s removal was based on concerns regarding cultural sensitivity in the immediate aftermath of the Bondi atrocity. Officials clarified that no connection was suggested between her writings and the tragedy. The board also acknowledged that the decision might disappoint some and pressure other participants, stressing that it was not taken lightly. These factors contributed directly to the ongoing festival controversy.

Past festival controversies provide context for this debate. In 2023, director Louise Adler resisted removing Palestinian authors Susan Abulhawa and Mohammed El-Kurd, despite sponsor withdrawals and boycotts from Ukrainian writers. Adler argued that literature festivals must be brave spaces for confronting difficult ideas rather than safe spaces for consensus. The board supported her decision, with Malinauskas stating politicians should not dictate what is culturally appropriate. These earlier incidents foreshadowed the present festival controversy.

The Friedman and Abdel-Fattah cases underline the difficulty festivals face in balancing artistic freedom with sensitivity toward marginalized communities. Critics argue that inconsistent application of principles fosters distrust, while supporters contend that context and timing are critical in programming decisions. The 2026 Adelaide festival controversy has therefore sparked national debate on censorship, inclusion, and the responsibilities of cultural institutions.

Analysts note that festival boards globally increasingly face pressures from social media campaigns, online backlash, and political scrutiny. The Adelaide festival controversy demonstrates how such pressures can influence artistic decisions and provoke intense public reaction. Organizers must carefully navigate these challenges to maintain credibility while protecting artists’ freedom of expression.

Abdel-Fattah emphasised the reputational and emotional consequences of her removal, framing it as identity-based marginalisation. Her cancellation sparked discussions on whether festival boards have adequate mechanisms to safeguard diverse voices while balancing societal sensitivities. Experts argue that consistent policies are essential to prevent similar controversies and maintain trust among participants and audiences.

Ultimately, the Adelaide festival controversy highlights the delicate balance between defending creative expression and responding to community standards. The Friedman and Abdel-Fattah cases serve as cautionary examples for cultural institutions, showing that inconsistent application of principles can undermine trust. The outcomes of these decisions will likely shape festival programming practices and influence debates on freedom of expression and inclusion across Australia.

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