Each week, Index on Censorship’s Mapping Media Freedom project verifies threats, violations and limitations faced by the media throughout the European Union and neighbouring countries. Here are just five reports from 23-29 February that give us cause for concern.
— CoE Media Freedom (@CoEMediaFreedom) March 2, 2016
The physical safety of journalists in Russia remains a major concern. Sergey Vinokurov, a correspondent for the weekly politics and news magazine Sobesednik, was assaulted outside the publication’s offices in Moscow on 25 February at around 9.20pm. As Vinokurov left for home, a perpetrator hit the journalist multiple times in the body and face, just ten meters from the entrance. The assailant, who appeared drunk, shouted vulgarities and said: “you’re getting this for your articles”. Vinokurov tried to dodge the punches and managed to make his way back to the entrance to the building’s entrance, but the assailant followed and continued his assault.
Security guards and other journalists were able to restrain the perpetrator before police arrived and brought the assailant to a detention center at the Tverskoi police department. Police have opened an investigation. The attacker was a 37-year-old Anton M, who lives next to the editorial office.
2. France: Defense minister launches investigation into Le Monde
The French Minister of Defence, Jean-Yve Le Drian, launched an investigation into French newspaper Le Monde on 24 February for “compromising the secrecy of national defence” following the publication of an article on the on the presence of French special forces in Libya. The article reported: “Highly targeted pinpoint strikes, prepared by discreet or covert actions: in Libya, this is the course of action taken by France against the threat of the Islamic State.”
Under French law, compromising the secrecy of national defence is punishable by a €45,000 fine and a 3-year prison sentence. The Le Monde claims that “specialised bloggers” had spotted the presence of French security forces in eastern Libya since mid-February.
3. Greece: Police block TV crew access to refugee camp operation
It’s been almost a year since phrases “migrant crisis” and “refugee crisis” started making headlines, and in that time we’ve seen many European governments making it increasingly difficult for asylum seekers to cross into their territorial boundaries. Most recently, Macedonia tightened its border control, leaving about 4,000 people stranded in Greece. The Greek government responded by removing refugees from a camp in the border town of Idomeni, putting them on buses bound for Athens, where they were to be temporarily housed in relocation camps.
While trying to cover events at the border, a TV crew for private broadcaster Alpha Channel was denied access. Greek police asked journalist Aphroditi Spilioti, a cameraman and a sound engineer to leave the camp “safety reasons”. The TV crew then moved outside the perimeter of the camp, where they could still observe the ongoing police operation, but again they were asked by police to move — this time 2 km away — for “safety reasons”.
When the journalist and the crew refused to do so, they were asked to provide their ID cards for verification and follow the police vehicle to the station. The police also reportedly told them not to drive back to the refugee camp.
4. Spain: Politician repeatedly asks journalist to reveal sources
Former president of the province of Valencia, Francisco Camps, tried to convince radio journalist for Cadena SER, Miguel Ángel Campos, to reveal his source when the journalist called to ask the politician about alleged corruption on 29 February.
Camps, who was filming the phone conversation, told the journalist: “I have to know who I need to talk to in order to not have a big mess tomorrow. […] I am asking you a favour, please, tell me what source told you that I was collecting money. I need to talk to that person and to defend myself.”
The journalist still refused to reveal the identity of his source. The politician continued to deny the allegations and asked to involve the journalist’s boss: “Please call him right now and tell him that you talked to me. And please tell him not to talk or to do something because all of this is a lie. Please, this is really important, talk to your boss, and if he would like to talk to me I am available.”
The independent Turkish broadcaster IMC TV was pulled off the air by one of Turkey’s largest broadcasters, Turksat, on 26 February following terror charges. Ankara prosecutor requested IMC be taken down because of allegations that the channel is “spreading terrorist propaganda” for the Kurdistan Workers’ Party (PKK), which Turkey has designated a terrorist organisation.
The channel was taken off the air during a live interview with Can Dundar and Erdem Gul, two prominent journalists who were freed pending trial that same day after spending 92 days in prison. Index on Censorship has condemned the decision. Senior Advocacy Officer Melody Patry said: “Turkey must halt its crackdown on media outlets and ensure citizens have access to diverse information and viewpoints, including those that differ from the government’s political line.”
Mr. Zeid Ra’ad Al Hussein, Mr. David Kaye, Mr. Joseph Cannataci, Mr. Maina Kiai, Mr. Michel Forst, Ms. Faith Pansy Tlakula, and Ms. Reine Alapini-Gansou
cc: African Union
African Peer Review Mechanism (APRM) Secretariat
Common Market for Eastern and Southern Africa Secretariat
Domestic & International Election Observer Missions to the Republic of Uganda
East African Community Secretariat
International Conference on the Great Lakes Region Secretariat
New Partnership for Africa’s Development (NEPAD) Secretariat
Uganda Communications Commission
Uganda Electoral Commission
Uganda Ministry of Information and Communications Technology
23 February 2016
Re: Internet shutdown in Uganda and elections
Your Excellencies,
We are writing to urgently request your immediate action to condemn the internet shutdown in Uganda, and to prevent any systematic or targeted attacks on democracy and freedom of expression in other African nations during forthcoming elections in 2016. [1]
On February 18, Ugandan internet users detected an internet outage affecting Twitter, Facebook, and other communications platforms. [2] According to the Uganda Communications Commission (UCC), blocking was carried out on orders of the Electoral Commission, for security reasons. [3] The shutdown coincided with voting for the presidential election, and remained in place until the afternoon of Sunday, February 21. During this period, two presidential candidates were detained under house arrest. [4] The telco MTN Uganda confirmed the UCC directed it to block “Social Media and Mobile Money services due to a threat to Public Order & Safety.” [5] The blocking order also affected the telcos Airtel, Smile, Vodafone, and Africel. President Museveni admitted to journalists on February 18 that he had ordered the block because “steps must be taken for security to stop so many (social media users from) getting in trouble; it is temporary because some people use those pathways for telling lies.” [6]
Research shows that internet shutdowns and state violence go hand in hand. [7] Shutdowns disrupt the free flow of information and create a cover of darkness that allows state repression to occur without scrutiny. Worryingly, Uganda has joined an alarming global trend of government-mandated shutdowns during elections, a practice that many African Union member governments have recently adopted, including: Burundi, Congo-Brazzaville, Egypt, Sudan, the Central African Republic, Niger, Democratic Republic of Congo. [8], [9], [10], [11], [12], [13], [14]
Internet shutdowns — with governments ordering the suspension or throttling of entire networks, often during elections or public protests — must never be allowed to become the new normal. Justified for public safety purposes, shutdowns instead cut off access to vital information, e-financing, and emergency services, plunging whole societies into fear and destabilizing the internet’s power to support small business livelihoods and drive economic development.
Uganda’s shutdown occurred as more than 25 African Union member countries are preparing to conduct presidential, local, general or parliamentary elections. [15]
A growing body of jurisprudence declares shutdowns to violate international law. In 2015, various experts from the United Nations (UN) Organization for Security and Co-operation in Europe (OSCE), Organization of American States (OAS), and the African Commission on Human and Peoples’ Rights (ACHPR), issued an historic statement declaring that internet “kill switches” can never be justified under international human rights law, even in times of conflict. [16] General Comment 34 of the UN Human Rights Committee, the official interpreter of the International Covenant on Civil and Political Rights, emphasizes that restrictions on speech online must be strictly necessary and proportionate to achieve a legitimate purpose. Shutdowns disproportionately impact all users, and unnecessarily restrict access to information and emergency services communications during crucial moments.
The internet has enabled significant advances in health, education, and creativity, and it is now essential to fully realize human rights including participation in elections and access to information.
We humbly request that you use the vital positions of your good offices to:
call upon the Ugandan government to provide redress to victims of the internet shutdown, and pledge not to issue similar orders in the future;
call on African states to uphold their human rights obligations, and not to take disproportionate responses like issuing shutdown orders, especially during sensitive moments like elections;
investigate shutdowns, in their various forms, in order to produce public reports that examine this alarming trend and its impact on human rights, and make recommendations to governments and companies on how to prevent future disruptions;
encourage telecommunications and internet services providers to respect human rights and resist unlawful orders to violate user rights, including through public disclosures and transparency reports;
encourage the African Commission on People’s and Human Rights, the United Nations Human Rights Council, and the UN General Assembly to resolve that Internet Shutdowns violate freedom of expression per se and without legal justification.
We are happy to assist you in any of these matters.
Sincerely,
Access Now African Centre for Democracy and Human Rights Studies (ACDHRS)
Association for Progressive Communications (APC)
Article 19 East Africa
Chapter Four Uganda
CIPESA
CIVICUS
Committee to Protect Journalists
DefendDefenders (The East and Horn of Africa Human Rights Defenders Project)
Electronic Frontier Foundation (EFF)
Global Partners Digital
Hivos East Africa
ifreedom Uganda
Index on Censorship
Integrating Livelihoods thru Communication Information Technology (ILICIT Africa)
International Commission of Jurists Kenya
ISOC Uganda
KICTANet (Kenya ICT Action Network)
Media Rights Agenda
Paradigm Initiative Nigeria
The African Media Initiative (AMI)
Unwanted Witness
Web We Want Foundation
Women of Uganda Network (WOUGNET)
Zimbabwe Human Rights NGO Forum
August 2015: opening of the Cuban Film Posters exhibition Soy Cuba as part of World Cinema Amsterdam. Credit: Shutterstock / Cloud Mine Amsterdam
“[T]he fault of many of our intellectuals and artists is to be found in their ‘original sin’: they are not authentically revolutionary.”
— Che Guevara, Man and Socialism in Cuba, 1965
Last year was a good one for Cuban artists. With renewed diplomatic relations with the US, a boom in Latin American art and Cuba’s exceptional artistic talent — fostered through institutions such as the Instituto Superior de Arte in Havana — works by prominent Cuban artists fetched top dollar at international auctions, and the Cuban film industry was firmly in the international spotlight.
While the end of the embargo brought with it hope for political liberalisation on the island, as with previous periods of promise in Cuban history cases of repression and censorship of dissident artists were rife in 2015.
So let’s begin again: Last year was a good one for Cuban artists who adhere to the country’s long-established revolutionary narrative and don’t embarrass the regime.
The fear of censorship for art that is critical of the government has been fostered through decades of laws and repression that limit freedom of expression. This can mean stigmatisation, the loss of employment and even imprisonment. Charges such as “social dangerousness” and insulting national symbols are so vague they make convictions very easy.
“Artists are among the most privileged people in Cuban society — they make money in hard currency, travel, have frequent interaction with foreigners and they don’t have boring jobs,” explains Coco Fusco, a Cuban-American artist, 2016 Index Freedom of Expression Awards nominee and author of Dangerous Moves: Performance and Politics in Cuba. “Artists function as a window display in Cuba; proof of the success of the system.”
But if an artist engages in political confrontations, they can draw unwanted attention, says Fusco.
One artist accused of doing just that is critically-acclaimed Cuban director and fellow nominee for this year’s Index Awards Juan Carlos Cremata. In 2015, he staged a production of Eugene Ionesco’s Exit the King, about an ageing ruler who refuses to give up power. The play lasted two performances before being shut down by the National Council of Theatre Arts and the Centre for Theatre in Havana.
“Exit the King was banned because according to the minister of culture and the secret police we were mocking Fidel Castro,” Cremata told Index on Censorship. “This wasn’t really true; what they fear is real revolutionary speech in theatre.”
When he spoke out against the move, Cuban authorities terminated his theatre contract, effectively dissolving his company, El Ingenio.
Cremata, whose career spans three decades, confesses the shutting down of Exit the King took him by surprise. “We are living in the 21st century, and according to the official propaganda, Cuba is changing and people can talk about anything,” he says. “This, as it turns out, is a big lie by people who are still dreaming of the revolution.”
“With their censorship, they show how stupid, retrograde and archaic their politics are,” he says.
As so much funding for artists comes from the state, non-conformist artists often find themselves in difficult financial situations. “I’ve had to reinvent my life,” Cremata says. “I’m trying to receive some help from friends who offer to work with me for free, but this will not be eternal, as they have families.”
Cremata himself has an adopted daughter and has her future to think about. “I truly believe life will change and better times will come with or without their approval, but it is very, very hard.”
Art has always been at the centre of Cuban culture, but under Fidel Castro it became a tool for spreading socialist ideas and censorship a tool for tackling dissent. Evidently, Cuba isn’t entirely post-Fidel, explains Fusco. “Fidel is still alive, his brother is in charge and his dynasty is firmly ensconced in the power, with sons, nieces and nephews in key positions,” she says. “Although I don’t think anyone over the age of 10 in Cuba believes the rhetoric anymore.”
Very few may believe the rhetoric, but going against it can still land you in prison, as was the case with Index Awards nominee Danilo Maldonado, the graffiti artist also known as El Sexto. Maldonado organised a performance called Animal Farm for Christmas 2014, where he intended to release two pigs with the names of Raúl and Fidel Castro painted on them. He was arrested on his way to carry out the performance and spent 10 months in prison without trial.
International human rights organisations condemned his imprisonment — during which he was on a month-long hunger strike — as an attack on freedom of expression.
The prospect for improving political freedoms doesn’t look good, and anyone who expected any different due to Cuba’s normalisation of relations with the US is naive, says Fusco.
“Washington is not promoting policy changes to improve human rights,” she says. “Washington is promoting policy changes to 1. develop better ways to exert political influence in Cuba; 2. to revise immigration policies and control the steep increase in Cuban illegal migration to the US; 3. to give US businesses and investment opportunity that they need (particularly agribusiness); 4. to avoid a tumultuous transition at the end of Raul Castro’s term in power that would produce more regional instability (i.e. the US does not want another Iraq, Libya or Syria).”
Even within Cuba there is an absence of discussion about civil liberties, strong voices of criticism of state controls and collective artist-based efforts to promote liberalisation.
“Artists are generally afraid to mingle with dissidents,” says Fusco. “There are a few bloggers who post stories about confrontations with police and political prisoners, a few older human rights activists who collect information about detentions and prison conditions, a handful of opposition groups who advocate for political reforms, but they have virtually no influence on the government.”
In the past, Cuban authorities used the US embargo as an excuse to justify restrictions on freedom of expression. Now that the excuses are running out, it is time for the Cuban government allow its dissidents the same freedoms as its conformists.
Ryan McChrystal is the assistant editor, online at Index on Censorship
Music has long been used as a form of resistance, from civil rights movements to the fall of the Berlin Wall. The latest issue of Index on Censorship magazine, focusing on taboos and the breaking down of social barriers, features an exclusive new short story by Ariel Dorfman about a military trumpeter who plays a defiant, rebellious song on his instrument.
In honour of the story, we have compiled a playlist of music that has been used as protest and resistance from all over the world. The influence of these songs show just how powerful music can be as a form of rebellion.
Many artists on the list have been forced into exile or censored. Index on Censorship has teamed up with the award-winning makers of the documentary They Will Have To Kill Us First to launch the Music in Exile Fund, which will help support musicians in similar situations.
Beethoven’s Ninth Symphony – Ode to Joy
Ode to Joy has been adopted by many protest movements around the world. Most notably the song was played on the streets of Chile in resistance to the Pinochet dictatorship. Demonstrators gathered outside prisons singing Ode to Joy, giving strength to the prisoners who suffered torture there at the hands of the regime.
Joan Baez – We Shall Overcome
We Shall Overcome is a key protest song of the civil rights movement. The song, which has been covered by various artists, was first used in 1945 by tobacco workers fighting for better pay in Charleston, South Carolina. The song, with its message of solidarity and hope, has been used in many protests around the world, not least in the 1950s and 1960s by activists in the American civil rights movement.
Vuyisile Mini – Ndodemnyama we Verwoerd
Ndodemnyama we Verwoerd (Watch Out, Verwoerd) is one of the most well-known songs in South Africa due to its association with the campaign against apartheid. Hendrik Verwoerd, who served as prime minister of South Africa until his assassination in 1966, became known as the “architect of apartheid” for his role in implementing the system of racial segregation. Unsurprisingly, he became the subject of many protest songs, including Ndodemnyama we Verwoerd by Vuyisile Mini. Mini became one of the most powerful organisers of the resistance, earning himself the moniker the “organiser of unorganised”. He was sentenced to death in 1964 on charges of sabotage and political crimes and is said to have sung the song while being led to the gallows.
November 2015 marked the 25th anniversary of the fall of the Berlin wall. Many songs have been associated with the demise of the wall, which divided Berlin for nearly three decades, particularly Wind of Change by German heavy metal band The Scorpions. The song, one of peace and hope, was released a few months after the wall was torn down and became one of the top-selling singles of 1991. The music video to Wind of Change shows footage of the wall being removed.
Songhoy Blues – Al Hassidi Terei
The four members of Songhoy Blues met as refugees after being forced into exile by Muslim extremists who banned all music in Mali in 2012. In defiance of the extremists, they formed the desert blues band, refusing to have music taken away from them. They have since gone on to work with Damon Albarn of Blur and Nick Zimmer of the Yeah Yeah Yeahs, been on an international tour and were nominees for the arts category of the Index on Censorship Freedom of Expression Awards 2014.
Ramy Essam – Irhal
Irhal became known as the anthem of Egypt’s uprising against President Mubarak’s after singer Ramy Essam performed the song during the 2011 protests in Tahrir Square. Irhal, which urges the president to resign, became internationally known after Essam’s performance was posted on YouTube during the protests. After the revolution, Essam returned to Tahrir Square where he was arrested and tortured by the military council. He was offered safe city residence in Sweden following his arrest and has been living there since 2014.
Tropicália/Gilberto Gil – Miserere Nóbis
The Tropicália movement is a brief artistic movement that took place in Brazil in the 1960s. During the movement, which was co-founded by Gilberto Gil and Caetano Veloso, musicians expressed their resistance to the country’s military dictatorship through their music and their socially and politically charged lyrics. The movement only lasted around a year before being suppressed by the military regime. Gil and Veloso were arrested in 1969 and forced to live in exile in London for the political content of their work but returned to Brazil in 1972.
Billie Holiday – Strange Fruit
Strange Fruit, most famously performed by Billie Holiday, protests American racism and the lynching of African Americans. The song began as a poem written by teacher Abel Meeropol published in 1937; Who then set it to music and performed it as a protest song at various venues in New York in the late 1930s along with his wife and the singer Laura Duncan.
Chieftains and Sinead O’Connor – Foggy Dew
Foggy Dew is the name of several old Irish ballad. This version of the song chronicles the Easter Rising of 1916 in Dublin when Irishmen fought for the cause of Irish independence. During World War I, thousands of Irishmen served in the British forces. Many Irish nationalists felt they should have stayed in Ireland and fought for Irish independence, which is reflected in the song.
Killing in the Name – Rage Against The Machine
American rap-metal band Rage Against the Machine released Killing in the Name in 1992, six months after the Los Angeles riots, which were triggered after four white police officers were acquitted of beating black motorist Rodney King. The song is institutional racism and police brutality. Known for its excessive use of expletives, Killing in the Name originally received little air time.
Joe Strummer (The Clash) mural, London. Credit: Flickr / Matt Brown
The Clash – White Riot
When The Clash released White Riot, many people thought it was a song advocating some kind of race war. This couldn’t be further from the truth. With the lyrics, Joe Strummer was appealing to white youths to find a worthy cause to fight (or riot) for, just as many black youths had in the UK at the time. At its heart, it is a song about class and race.
Bob Marley – Get Up, Stand Up
Bob Marley is renowned for his songs about peace, love and resistance. With Get Up, Stand Up being one of his most well-known protest songs. Marley wrote the song with fellow Jamaican musician Peter Tosh as a challenge to oppression. The song is famed for the lyrics: “You can fool some people sometimes but you can’t fool all the people all the time.”
Pete Seeger – Joe Hill
Joe Hill was a miner, songwriter and union organiser for the Industrial Workers of the World (IWW). Hill was executed in America in 1915 following a controversial trial in which he was found guilty of the murders of John G Morrison and his son Arling. Hill refused to testify at his trial believing he would be worth more to the labour movement as a dead martyr than alive. After his death, Hill was the subject of songs by various artists, including Paul Robeson, Joan Baez and Pete Seeger.
Sam Cooke – A Change Is Gonna Come
A Change Is Gonna Come has been covered by various artist but was originally written by Sam Cooke. The song is another civil rights anthem concerning the struggles of African Americans during the 1960s. Cooke was said to have been inspired to write to song by various events in his life, predominantly being turned away from a “whites only” hotel. The singer was shot and killed just before the song was due to be released as a single in 1964.
Tinariwen – Lulla
Tinariwen are made up of musicians from the Tuareg community, whose music reflects the issues faced by the Tuareg people. The musicians received military training when they were living in exile in Libya in the 1980s, and many of the members of Tinariwen were rebel fighters in the 1990 revolt against the Malian government. In 1991, the collective, who’s name translates to “the people of the desert”, left the military to focus on music on a full-time basis.
Eagles of Death Metal – People Have the Power
On 8 December, Eagles of Death Metal joined U2 on stage in Paris, just three weeks after Muslim extremists launched an attack at their concert at the Bataclan Theatre, killing 89 people, plus 41 in two other attacks. Together the bands performed a cover of Patti Smith’s People Have the Power, showing bravery and resistance against the terrorists who left the city in fear.
You can read the Ariel Dorfman’s new short story, All I Ever Have, about music as a form of resistance in the latest Index on Censorship magazine. Each magazine sale helps Index on Censorship fight for free expression worldwide. Order your copy here, or take out a digital subscription via Exact Editions (just £18 for the year).
