Belarus Free Theatre have been using their creative and subversive art to protest the dictatorial rule of Aleksandr Lukashenko for over a decade.
Facing pressure from authorities since their inception, the theatre company nonetheless thrived underground, performing in apartments, basements and forests despite continued arrests and brutal interrogations. In 2011, while on tour, they were told they were unable to return home. Refusing to be silenced, the group set up headquarters in London and continued to direct projects in Belarus. In 2016 the group was shortlisted for Index on Censorship’s Freedom of Expression Arts Award.
Why is it important to mount Burning Doors at this time?
Koliada: Freedom of expression in that geopolitical knot where we come from and where more than 200 million people live under severe pressures of authoritarian and dictatorial regimes. If we do not talk and alert people living in western, democratic countries to our stories, their countries will be infiltrated in different forms, initially unnoticeably, by people manipulating the authorities who say it’s all in the name of the law.
Where did the idea come from?
Koliada: The idea behind Burning Doors is at the heart of Belarus Free Theatre. Close your eyes, just for a moment, and imagine that a theatre company based here in the UK could be prohibited to perform shows by Mark Ravenhill and Sarah Kane, and needs to perform underground. Even operating underground, the actors and managers could be arrested by MI5, riot police or the Met, and audience members threatened and told that they could lose their jobs and education.
(Our audience is a very young one and, of course, they are not scared of the secret services, so what would happen in those cases is that their parents would be threatened with professional retribution.)
I’ll continue and ask you to imagine that all of it has happened and continues to happen to a UK based-theatre company, one that is known and performs across the world, and yet can only exist because its founding members are exiled from their homeland and they now have political asylum in the UK. This has been our story for the past 11 years.
It’s in our blood to feel all the symptoms of dictatorship. Last year when we mounted Staging A Revolution: I’m with Banned which brought international attention to banned artists in Belarus, Ukraine (Ukrainian artists who spoke out against the Russian military invasion of Ukraine and are now prohibited in Russia), and Russia, it was the first time anyone had mounted an artistic solidarity event with Eastern Europe since the collapse of the Soviet Union.
Around the same time that the Festival took place, filmmaker Oleg Sentsov and contemporary artist Petr Pavlensky were arrested. Masha Alekhina, a member of Pussy Riot who served two years in jail, got in contact with us and suggested we work together. We knew we had to do it. We were intrigued by the artistic possibilities of working with a real witness talking about her own personal experiences and bringing her into our Minsk-based ensemble of actors, the most talented and bravest in the world. We wanted to connect Masha’s story to those of other persecuted contemporary actors and through a prism of their personal stories to speak openly about the hypocrisy of politicians and to inspire our audiences to reflect on the reality that we as human beings need to stand up together against repressive regimes. It’s important for us to reemphasise that we are not heroes, we are not victims, we are contemporary artists.
Does BFT think that building cross-border alliances with artists will have an impact on the threats to freedom of expression?
Koliada: Any cross-borders alliances of artists expands audiences. It transforms all of us into a movement. Why do dictators put contemporary artists into jails? Because they want to show with a single example that it’s dangerous to resist systems through the arts. They become scared when we stand up together against them. It’s very simple in thought and action but this is what makes them go into panic mode. Ai Wei Wei was under a house arrest when he created the visual icon for our campaign, Staging A Revolution: I’m with Banned. More than 600,000 people across the world saw it online, and people from more than 37 countries supported our campaign. This kind of collective action makes dictators feel sick and it’s then that they start to make the mistakes that lead to their collapse.
It’s unprecedented for us as a theatre company making work for more than eleven years under dictatorship to collaborate with a woman who served a two-year term in a Russian jail. Within days of announcing this collaboration to the media in the UK, it spread across the world. Even this level of coverage is terrifying to people like Putin or Lukashenko because it demonstrates the tidal wave of support for non-violent resistance by creating art. Art is more powerful than political rhetoric. When Mick Jagger, Tom Stoppard and Vaclav Havel made a video supporting the people of Belarus, we were arrested by the KGB. They knew that it was instigated and created by members of BFT. We understood then that the support of artists across the world was more terrifying to them than statements from politicians.
I think it’s time for all of us to make steps forward and to start to act together with artists, human rights defenders, politicians and journalists, because dictators are scared of a strong mutual position.
How has BFT’s mission evolved since being founded a decade ago?
Koliada: From the very beginning we were only interested in people. Human life is the most interesting subject matter for us. We started with our own personal taboos, then society’s taboos, then moved onto a global dimension. The only thing that is unchanging is our fundamental interest in people. When we perform in different continents across the world, people tell us that they find our work so powerful because they always find themselves within us. And likewise, we find ourselves in our audiences.
How else can people support BFT and Burning Doors?
Koliada: Information is the key. If people know what we do, why and how, we have the chance to continue to exist. People knowing of our existence and our work helps on many different levels including our financial sustainability. Last week, President Obama extended sanctions in Belarus stating that Belarus is “an unusual and extraordinary threat to the national security of the United States of America and its foreign affairs”. Yet at the same time, the EU is playing a badly orchestrated geopolitical rebranding game to try to convince people that “Belarus is normal”. It’s not. It has been a dictatorship in Europe for 22 years, political opponents have been murdered and their bodies never found. Those who perpetrated those crimes are still in power. Even this week, there is a trial underway against Eduard Palchis, who is a blogger and journalist. It seems that Belarus might have seized another political prisoner if human rights organisations across the world do not intervene.
And for BFT more specifically, this month we launched our first-ever Kickstarter campaign. We need to raise £20,000 in the month of June to bring our tireless, extraordinarily brave troupe of actors to the UK to work with them on our new work, Burning Doors. Every pound will help us get there. Please consider finding out more and supporting us today.
Searching for “dissident artists” online, you’d be forgiven for thinking they are a purely Chinese or Russian phenomenon. But for every Ai Weiwei or Pussy Riot, there are scores of artists and musicians around the world whose persecution does not make the Six O’Clock News.
Serge Bambara — aka Smockey, meaning “se moquer”, or “to mock” — is a hip-hop artist and activist little known outside his home country of Burkina Faso, but who has had a marked impact on political and social developments there.
He combines rap with traditional Burkinabé music and often humour to “spread truth”. “Knowledge is important, and I write as a way of presenting it to the people,” he told Index on Censorship.
Index on Censorship is proud to name Smockey as the recipient of the Music in Exile Fund Fellowship. As the beneficiary, he will perform live in London, as well as receive training and opportunities to connect with other free speech heroes around the world.
“Serge Bambara’s overtly political music has made him a target for entrenched interests in Burkina Faso,” said Jodie Ginsberg, CEO of Index on Censorship. “Throughout his career, he has used his talents to fight for racial equality and battle corruption. We are delighted to have him as the inaugural Music in Exile fellow.”
In September 2015, after two years of serious activism and over 15 years of writing music about the problems in his country, forces loyal to the recently ousted president Blaise Compaoré — obviously unhappy with the truths he was spreading — bombed Smockey’s recording studio, the acclaimed Studio Abazon. The attack was an apparent attempt on his life as revenge for the role his music and activism played in the deposition of Compaoré, according to Smockey.
Attacks on artistic freedom — particularly musicians — almost doubled in 2015. But to understand why Smockey was targeted in such a violent and specific manner, we need to go back to his roots.
Smockey first became interested in hip-hop music through listening to American artists like Public Enemy, Afrika Bambaataa and LL Cool J. He began rapping in Burkina Faso in 1988, before moving to France in 1991 to study. While there, he signed to the record label EMI, but it wasn’t until he returned to his country of birth on a holiday in 1999 that his music took on the political dimension it is famed for today.
“It was around the time of the murder of journalist Norbert Zongo, who was assassinated following investigations into the activist by president Blaise Compaoré,” he said. “Student demonstrators were being beaten by police. It was very disturbing to me.”
Smockey soon packed up his computer and keyboard in France and moved back home to Burkina Faso in 2001. “Seeing the things going on in my country, I had to do something,” he said. “At the time, I didn’t know exactly what, but I knew it would involve music.”
He understands fully the responsibility that often comes with being in the spotlight in a country burdened by so many difficulties. “Not everyone is lucky enough to have a microphone in front of them, so if you have the chance to talk, you have to say something important,” Smockey said. This is the thinking behind subversive songs like Votez Pour Moi (about democracy), Tomber la Lame (FGM) and A Qui Profite le Crime (government corruption).
In the summer of 2013, Smockey co-founded Le Balai Citoyen, or The Citizen’s Broom, with reggae artist Sams’K Le Jah. The grassroots movement was set up in opposition to Compaoré, aiming to bring positive change to Burkina Faso. “As our problems were political, our solutions had to be political also,” Smockey explained.
As for the name and ethos of the movement, he said: “With just one twig, you won’t get much done, but when you bind them together and make a broom you can clean a lot of shit. This is why we always say ‘our number is our strength’ because it is impossible to be defeated if we are united.”
Le Balai Citoyen played a big part in the ousting of Compaoré. It urged the people of Burkina Faso to organise and take to the streets. Following mass demonstrations in late 2014, Compaoré resigned on 31 October after 27 years in power. A transition government, led by the military, was established, which Smockey was broadly supportive of. However, a military coup saw General Gilbert Diendéré — leader of the Regiment of Presidential Security (RSP), Compaoré’s former secret service — seize power in September 2015.
Le Balai Citoyen staged a march to the presidential palace in protest of the coup. Smockey, along with fellow demonstrators, were shot at and then chased through the streets of Ouagadougou by RSP. Although Smockey managed to escape, many others were beaten and arrested.
“We knew we were lucky, but we weren’t able to go home,” he said. On 17 September he went into hiding. Asked whether he is an artist or an activist first, Smockey told Index on Censorship that depends on what he is doing at any one time. His fans tend not to draw a distinction, he explained. Nor did Diendéré, it would seem, whose forces rocket-bombed Smockey’s studio on the same day he went underground.
Studio Abazon was a hub for young and aspiring musicians. “They attacked it because they knew it was an important landmark to the resistance,” Smockey explained. “Their thinking was that you have to kill the leaders, everyone else will go away.”
Prior to the attack, the rapper had received death threats, and although he had the opportunity to flee to Holland, he stayed put. “You can’t talk about strength in numbers if on the first sign of difficulty you are going to run away,” he said.
Diendéré’s rule didn’t last long as he failed to consolidate his authority and came under pressure from international leaders and the army to step down. Smockey came out of hiding and fresh elections were held in Burkina Faso.
“The current government, although it’s not perfect, was chosen by the people so it’s legitimate,” explains Smockey. “Our job is now to be the watchers and guards of democracy.”
The rapper is optimistic about the future of his country and proud of the role his music and activism have played in developments so far. With the progress made, he now plans to put more focus on his music. “I’ve started rebuilding the studio, and have already begun recording artists again, but much more work needs to be done,” he said.
He has plans for a tour of the country and wants to set up a hip-hop festival. “It will create a kind of bridge between rappers, old school and new,” he said. “We’re going to do one big concert every month as a way of keeping people connected.”
When Index on Censorship launched the Music in Exile Fund in October 2015 along with the producers of the award-winning documentary They Will Have To Kill Us First, Johanna Schwartz, director of the film, said: “When faced with censorship, musicians across the world need our support.”
In whatever small way, the Music in Exile Fund will help see Smockey’s plans become reality.
The Music In Exile Fund was launched to help support musicians facing censorship around the world. The fund contributes to Index on Censorship’s year-long Freedom of Expression Awards Fellowship programme, helping musicians to build their international profile and to create, perform and share their work in a safe environment. You can donate here.
As the annual Index on Censorship Freedom of Expression Awards gala approaches, we’ve highlighted five of those who have won or been nominated for free expression awards, including the Freemuse Awards. From a Moroccan rapper to an Iranian folk singer, these artists refuse to be censored and continue to fight to have their voices heard.
El Haqed, Morocco
Winner of the 2015 Index on Censorship Freedom of Expression Award for arts
Mouad Belghouat, aka El Haqed, faced repression from the Moroccan government, including multiple arrests since the Arab Spring. His music focuses on poverty, oppression and political corruption in his country. He is currently living in Belgium, where he continues to write music.
Mayam Mahmoud, Egypt
Winner of the 2014 Index on Censorship Freedom of Expression Award for arts
Mayam Mahmoud, one of Egypt’s first and bravest female hip-hop artists, uses music to address some of the grievances in her country, from a lack of women’s rights to sexual harassment. After competing on the TV show Arabs Got Talent, she used her prominence to speak out against the misogyny she has witnessed and experienced.
Ferhat Tunç, Turkey
2010 Freemuse Award winner
Despite years of attempted censorship by the Turkish government, Ferhat Tunç has continued to release music and promote human rights in his homeland. He has released more than 20 albums, undeterred by numerous court summons and a prison sentence.
Songhoy Blues, Mali
Nominees for the 2015 Index on Censorship Freedom of Expression Award for arts
A group of musicians that fled northern Mali after the occupation by militant Islamist groups in spring 2012, Songhoy Blues are a rowdy blend of blues and rock. After Islamists banned music in their region, they went into exile and have since gone on to tour with Julian Casablancas and Damon Albarn. The band released their debut album, Music in Exile, in February 2015.
Pussy Riot, Russia
Nominees for the 2013 Index on Censorship Freedom of Expression Award for arts In February 2012, members of the feminist punk band Pussy Riot staged a brief demonstration through music at Moscow’s Christ the Saviour Cathedral, condemning the Russian Orthodox Church’s close ties to Vladimir Putin. In August of that year, three members were sentenced to two years in jail for hooliganism motivated by religious hatred. The verdict was a bitter blow for freedom of expression in Russia, which continues to be under attack today.
Index on Censorship has teamed up with the producers of an award-winning documentary about Mali’s musicians, They Will Have To Kill Us First, to create the Music in Exile Fund to support musicians facing censorship globally. You can donate here, or give £10 by texting “BAND61 £10” to 70070.
Russia’s media freedom has declined under the government of Vladimir Putin. The president and his allies have used a cloak of legislative legitimacy to target potential opposition to his rule. Mapping Media Freedom correspondents Ekaterina Buchneva and Andrey Kalikh explore what this means for two important sectors of the Russian media.
Print and broadcast media
By Ekaterina Buchneva, Mapping Media Correspondent
Under Russia’s law on mass media amended in autumn 2014, foreign owners are restricted to 20% of shares in media organisations in the country. Its authors said that the legislation would halt the West’s “cold information war”. The law has triggered major changes in the Russian media market and, as critics warned when the law was passed, was used to replace international investors with locals loyal to the Kremlin.
The Russian edition of Forbes magazine, formerly owned by German media conglomerate Axel Springer and known for its independent editorial policy, was sold to businessman Alexey Fedotov, who immediately said that the publication was “too focused on politics” and should cover more business news. In January 2016, the magazine named Nikolay Uskov as its new editor-in-chief. Uslov, a former editor-in-chief of the Russian edition of GQ, has never worked in business journalism.
Finland’s Sonoma Independent Media, America’s Dow Jones and the UK’s Pearson also had to sell their shares in Vedomosti, the main business newspaper known for its critical opinion pieces. Now the paper’s new — and only — owner is Demian Kudryavtsev, a business partner of oligarch Boris Berezovsky, who died in 2013, and a former chief executive of major Russian publishing house Kommersant. Kudryavtsev also purchased The Moscow Times, the country’s only English-language daily. Some journalists were concerned about the origin of the money Kudryavtsev used in the deal and suggested that there was another buyer behind him.
The media ownership law also affected a number of glossy magazines, which, as one of the law’s author said, “squeeze articles favorable to the West and the fifth column in between news about cars and glamorous watches”, and entertainment television channels. CTC Media sold 75% of its shares to loyal to the Kremlin oligarch Alisher Usmanov, who also owns the Kommersant publishing house.
The Russian broadcasters of CNN, Cartoon Network and Boomerang, as well as 11 television channels of Discovery group, came under the control of Media Alliance, 80% of which belongs to National Media Group. The president of NMG, which also owns a number of Russian media organisations, including RenTV, Channel Five, Izvestia newspaper and 25% of Сhannel One, is Kirill Kovalchuk, a nephew of Putin’s old friend Yuri Kovalchuk.
Tightening control over foreign publishers
In addition, in December 2015, another bill with new amendments to the “law about mass media” was introduced into the Russian State Duma. It contains more limitations for media organisations, some of them refer to foreign publishers.
The bill suggests new legal background — violation of anti-extremism legislation — for denying or revoking distribution permit for foreign publishers. Among the ones that now have such permits are Frankfurter Allgemeine Zeitung, China Daily, European Weekly, GQ, Cosmopolitan, Esquire, Tatler, Vogue, and some papers from CIS (Commonwealth of Independent States) countries, including Expert.Ukraine magazine.
“The problem is vagueness and inconsistency of the anti-extremism legislation itself and the practice of its implementation by the Russian authorities,” says Damir Gainutdinov, lawyer of Inter-regional Association of Human Rights Organisations “Agora”.
“It is primarily about Article 1 of the Federal Law on Countering Extremist Activity, which gives a definition of extremism, extremist materials, etc. In practice, this definition is used not only for hate crimes but also, for example, criticism of the Russian authorities. Condemnation of the Crimea annexation is recognised as calls for infringement of the territorial integrity of Russia, as it was in the case of Rafis Kashapov (Tatar activist from Tatarstan, who was convinced in September 2015 to three years in jail for posting informational materials criticising Crimea annexation), and criticism of the United Russia is recognised as the incitement of hatred to a social group, as it was in the case of prohibition of video clips by Navalny (a few activists were found guilty of distribution of extremist materials for posting a video by opposition leader Alexey Navalny titled ‘Let’s recall manifest-2002 to crooks and thieves’, on social media). Therefore, any unenthusiastic article published by foreign media may be recognised as a violation of anti-extremist legislation. Another thing is that this applies only to the print media. Since February 2014, it works much easier with websites; they can be just blocked by orders of the general prosecutor office.”
According to the bill, the foreign publishers also will have to pay a fee for issuing a distribution permit. The authors explained that it would “eliminate the unfair advantage of the founders of foreign publications that provides them with more favorable business conditions”.
Another bill, that was already approved by the State Duma, requires Russian media organisations to inform Roskomnadzor (The Federal Service for Supervision in the Sphere of Telecom, Information Technologies and Mass Communications) about foreign funding, including funding from foreign states, international organisations and Russian NGOs that were considered “foreign agents”. The minimum amount of money that should be declared is 15,000 roubles (less than $200). Penalties for not notifying Roskomnadzor will be fines of 30-50,000 roubles (about $400-600) for officials and the amount of money received for companies. A repeated violation will be punished with a fine of 80,000 roubles (about $1,000) and triples amount of money received.
This bill resembles the one adopted in June 2012 by the Russian State Duma, requiring NGOs to register as “foreign agents”, says Damir Gainutdinov. “First, it is a simple registration and then more and more new burdens will be introduced, for example, state bodies will deny accreditation of such media organisations, officials will be banned from giving them interviews and answering their questions … An additional mandatory audit and special checks of staff could be introduced, who knows what else.”
The bill about foreign funding could affect a number of media platforms – from Colta.ru that cover art and culture to Mediazonа that highlights problems of the Russian justice and the penal system.
Limitations for founders of media organisations
Another block of amendments introduces a new restriction for media founders. It suggests that those, who have unspent or unexpunged convictions for crimes against the constitutional order, public security and public safety, can not found a media organisation.
Those crimes include a number of criminal articles – from hooliganism and repeated violation of rules of organising or holding rallies and demonstrations to espionage and treason. But the most tricky ones are incitement of hatred and abasement of human dignity (Article 282 of the Criminal Code of Russia), public calls for extremism (Article 280) and public calls for infringement of the territorial integrity of Russia (Article 280.1), says Damir Gainutdinov. “These articles are used for persecution of dissenters. In absolute numbers, there are not many cases like this against journalists, but such practice is developing gradually – Stomaknih, Yushkov, Kashapov”.
However, these limitations could not prevent dissenters from taking part in media management at different positions. For example, Pussy Riot members Nadezhda Tolokonnikova and Maria Alekhina, who were convinced for hooliganism, founded Mediazona platform, but as Tolokonnikova told RBC newspaper, they were not officially registered as founders as they had foreseen possible legal problems.
In 2012, the anti-extremism law was amended to empower Roskomnadzor, the state media and communication watchdog, to launch the United Register of Banned Websites. The modifications also enabled the agency to add websites that have “extremist content” without judicial approval. Once a site is added to the list, Russia’s internet services providers are obliged to block it. Within days of the changes, several independent media outlets and political opposition sites websites and blogs — Grani.ru, Ej.ru, Alexei Navalny’s blog — were blacklisted in the country.
On 30 December 2015 a district court in the Siberian city of Tomsk sentenced blogger Vadim Tyumentsev to five years in prison for two videos he posted on his YouTube page.
In the first video, the blogger criticised the local government’s decision to raise the cost of fares on the city’s public transport. In the second video, he said that authorities help refugees from eastern Ukraine more than they help local residents.
The court recognised both of Tyumentcev’s videos as “having extremist character”. Ekaterina Galyautdinova, the presiding judge, gave Tyumentsev a sentence even longer than the prosecutor had pursued. She also banned Tyumentsev from posting online for three years.
The Tyumentcev case is far from the first time that a blogger has been subjected to a prosecution. In 2007, Savva Terentyev, a blogger from the Siberian city of Syktyvkar, was sentenced to a large fine for “offending a social group” – in this case, the local police force – by writing about bad behaviour and human rights abuses committed by officers. In 2012, Maxim Efimov, a blogger from Petrozavodsk, Republic of Karelia, faced prosecution after he posted an article under the headline.
In 2012, Maxim Efimov, a blogger from Petrozavodsk, Republic of Karelia, faced prosecution after he posted an article under the headline “Karelia is tired of priests”, in which he criticised the leadership of the Russian Orthodox Church. Efimov left Russia and was subsequently granted political asylum in Estonia.
That same year the Prosecutor General Office blocked the website and blog of Alexei Navalny, blogger and opposition leader, for allegedly calling “for mass disorders”. Navalny was sentenced to the administrative detention for 15 days and faced other accusations related to his political activities.
“Bloggers law”
In August 2014, the Russian State Duma adopted a number of amendments to communication legislation. The so-called “bloggers law” required sites with more than 3,000 visitors a day to register with Roskomnadzor and observe the same rules as much larger media outlets.
Under the amendments, all site owners and social media users are required to disclose their names and email address on their websites. Owners and users must keep all the information published on the web including personal data for at least six months and immediately submit to the law enforcement bodies on demand.
Moreover, Roskomnadzor received the right to request personal information from all site owners and users.
Most recently, as of 1 January 2016, the “bloggers law” requires all websites and social media platforms to keep all personal data of Russian users on servers within Russian territory. Failing to do this means Roskomnadzor can block the site or service. Companies can either comply or cease doing business in Russia.
According to the Roskomnadzor spokesman Vladimir Ampelonski, some foreign companies submitted to the requirement and brought their servers to Russia. However, some companies — Google, Facebook and Apple — have defied implementing this change. Facebook representatives met with the authority’s deputy chief, Aleksandr Zharov. At the meeting the company said it will not observe the law because it is “economically disadvantageous”, the Vedomosti newspaper reported.
Empowering the FSB
After Putin’s re-election in 2012, Russian security service FSB’s powers were considerably expanded. Articles of the Criminal Code of the Russian Federation on high treason, espionage and disclosure of state secrets were widened and made ever more vague by introducing language on cooperation with any “foreign organisation, or their representatives in hostile activities to the detriment of the external security of the Russian Federation”.
The FSB has further tried to make investigative journalism more by lobbying members of the State Duma to pass a draft law limiting access to information on commercial real estate transactions. If passed, the law would make it impossible to uncover cases of illicit enrichment by government officials.
