Do taboos play an essential role in culture and society or must we simply get rid of them? Index on Censorship magazine editor Rachael Jolley spoke on the topic at Fritt Ord headquarters in Oslo, Norway, on 21 June at a discussion co-organised by Index, Fritt Ord the Free Word Centre.
Other speakers included Maria Stepanova, poet and editor of the webzine Colta.ru, Moscow, and Pål Johan Karlsen, author and editor-in-chief of the website Psykologisk.no.
Index magazine’s winter 2015/16 issue was on the theme of taboos and why breaking down social barriers matters. In her talk, Jolley presented a global survey of taboos, discussed their history in certain countries and explored why certain taboos lead to censorship.
“Who decided these are the rules and how do they change?” she asked. “Sometimes it takes a generational shift such as we’ve seen in Ireland with the vote to change the law on gay marriage.”
“There’s a tipping point theory where a body of resistance builds up to such a point that the dam breaks and the public suddenly demands another way is found and an older way is discarded,” Jolley added.
Stepanova focused on taboos in Russia, paying special attention to “government-inspired” taboos that were virtually non-existent until a few years ago, but which are now shaped and encouraged by propaganda. Johan Karlsen spoke in defence of the elephant in the room: Why are taboos useful? If we are to co-exist and find inner peace in a dangerous world, we must make space for taboos in our lives, he argued.
Knut Olav Åmås, executive director of the Fritt Ord Foundation, moderated the discussion.
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.
Click on the dots for more information on the incidents.
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 five recent reports that give us cause for concern.
A Baku prosecutor asked for an 8.5-year sentence for Rovshan and Rufat Zahidov, relatives of Azadliq (Radio Liberty) newspaper editor-in-chief Ganimat Zahid on charges of drug possession, the media outlet reported. Rufat and Rovshan Zahidovs were arrested in July 2015 and accused of the possession and sale of drugs. The hearing of the case began in February 2016. Ganimat Zahid lives in exile and runs Azerbaijan Hour online TV channel. Zahid served 28 months of a four- year sentence in retaliation for his critical journalism wrote CPJ following Zahid’s release in 2010. Zahid was convicted under articles 127.2.3 (hooliganism with intentional infliction of minor bodily harm) and 221 (hooliganism).
Police forces pushed, shoved and hit journalists with batons while dispersing a protest against the proposed labour law in Rennes, France 3 reported. The police charged the crowd from their cars, using tear gas against protesters and hitting them with batons, France 3 reported. Bruno Van Wassenhove, a France 3 reporter, explained journalists who had been criticising the violence of the assault were pushed to the side by the police officers and hit intermittently with batons. Rennes Press Club has firmly criticised the attacks against journalists perpetrated by the police. “Journalists were not targets but ‘they were hit by batons'”, the Club wrote on twitter, quoting an article of newspaper Le Parisien.
Editor Pasquale Clemente was sentenced to two years in prison and fined €1,500 on libel charges (Art. 13 of the press law n.47 /48) in the criminal court of Nola in Naples, Ossigeno reported. Clemente is the former editor-in-chief of the Gazzetta di Caserta and currently editor-in-chief of Roma newspaper. On 22 July, 2010, Pasquale Giuliano, a former judge and senator at the time, sued the journalist for an article published on 30 April, 2010 edited by Clemente. In that article, Clemente criticises the politician: “A province like ours – he writes – can not afford to blow up the first Provincial Council …. A shame ratified by threats from the courtroom of two parliamentary politicians like Coronella and Giuliano, who had nothing to do with anything”.
Journalists Aleksandr Valov and Dmitry Saltykovsky along with a film crew for US channel HBO were detained while working near the southern Russian city of Sochi. The Russian journalists and the six-person TV crew were reportedly investigating claims of misuse of real estate properties constructed during the 2014 Winter Olympic Games which were held in Sochi. The US citizens were released after seven hours, while the two Russian journalists were detained further and transported to the FSB headquarters in Sochi. Initially, law enforcement claimed they were operating in a near-border zone without “necessary permits.” Valov’s lawyer reports that a court in Adler charged him with “organising a public event in a near-border zone.” Valov is set to remain in jail for five days. Dmitry Saltykovsky, who worked as an interpreter for the HBO crew, was released, but fined 1,000 rubles ($15), according to the journalists’ lawyer, Alexander Popov, on Twitter. Aleksandr Valov is the editor-in-chief of Blog Sochi.
Syrian independent journalist Ahmed Abd al-Qader survived second murder attempt in Urfa, where he is based. Exiled Syrian news outlet, Eye on Homeland, said, Ahmed Abd al-Qader was attacked while out shopping by two gunmen riding a motorbike, RSF reported. Injured in the head, he was taken to a hospital in Urfa and is now placed in intensive care and is reportedly in stable condition. The attack was claimed by the Islamic State according to ABC news. In March of 2016, Ahmed Abd al-Qader survived a first attempt at his life when two men ambushed his residence in Urfa. His brother Ibrahim Abdelqader was murdered in Urfa on 30 October 2015 together with a friend, Fares Hammadi, which the Islamic State also claimed responsibility for. In April, another Syrian journalist Mohammed Zahir al-Shergat died as a result of gunshot wounds in Turkish city of Gaziantep. Shergat was shot when walking on a street by members of the IS, who have since confirmed their responsibility of the attack.
Click on the dots for more information on the incidents.
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 five recent reports that give us cause for concern.
Jiménez alleges that Antonio Fernández-Galiano Campos, president of El Mundo’s owner Unidad Editorial, pressured him to edit the paper to conform with the publisher’s corporate strategy.
Jiménez, who was hired as director in May 2015, claimed his right to direct editorial coverage independently was suppressed. His firing came just four days after the paper laid off 168 staffers including 38 journalists due to financial pressures.
The Greek Union of Photojournalists denounced the “flagrant violation of the freedom and pluralism of press”, during an operation to evacuate the country’s largest informal refugee camp of Idomeni. The statement stressed that journalists and photojournalists were not in danger, at least “not more than the ERT and ANA journalists”.
“If the trapped people use violence it won’t be against journalists and photojournalists, but against the police,” the organisation said in its statement.
Journalists for the provincial radio and TV station RTV Vojvodina claim they will be replaced by new journalists who have been chosen by the Serbian Progressive Party, which has been the ruling party in the autonomous region Vojvodina since the elections in April 2016.
The entire editorial staff was told on Wednesday 18 May 2016 that they no longer need to come to work, and that other journalists would take over their jobs. They have not been fired.
Editor-in-chief of TV channel 1, Mirjana Jovic, and general director Srdjan Mihajlovic had earlier resigned. Both are believed to have left the station under “political pressure”. Programme director Slobodan Arezina has also been dismissed, B92 reported.
In response, around forty journalists and editors have sent an open letter in which they express their worries about “sudden personnel changes that have not been clearly explained”. They are demanding a public explanation from the management “about why there has been such a sudden shift without explanation and whether this is a political decision”.
A court in the city of Mersin sentenced journalist Arzu Yildiz to 20 months in jail and deprived of legal guardianship over her children for footage she published in May 2015.
The footage was from a court hearing where four prosecutors were on trial for ordering a search of trucks belonging to Turkey’s MIT intelligence agency as they traveled to Syria in 2014, Reuters reported. President Erdogan accused those who covered the story as plotting against his government along with enemies to undermine Turkey and to embarrass the country.
The lawyer said the decision to strip parental rights was an act of revenge. “There are many cases in which the court does not execute this article of the penal code. They didn’t have to do it”.
Ukrainian president Petro Poroshenko signed a decree to impose personal sanctions against 17 Russian media executives for broadcasting propaganda, the Unian information agency reported.
According to Human Rights Watch, among the 17 are Konstantin Ernst, general director of Channel One, Russia’s main state-owned television channel, and Margarita Simonyan, chief editor of Russia’s international television network RT (formerly Russia Today) and the Rossiya Segodnya news agency. Journalists on the list also include Vladislav Fronin, chief editor of the official government newspaper Rossiyskaya Gazeta, and Vitali Leibin, editor at Russkiy Reporter magazine. Russia either owns — at least partially — or exerts significant control over the media outlets listed in the presidential decree, HRW said.
According to the decree the 17 individuals “create real and potential threat to national interests, national security, sovereignty, and territorial integrity of Ukraine; facilitate terrorist activity and violate citizens’ rights and freedoms; contribute to the occupation of territories, and obstruct full realization of rights and freedoms by Ukrainian citizens.”
The decree bars the 17 from entering Ukraine through December 31 2017.
Mapping Media Freedom Violations, censorship and needs of threatened journalists in Europe
Click on the bubbles to view reports or double-click to zoom in on specific regions. The full site can be accessed at https://mappingmediafreedom.org/
