Coronation crackdown: It couldn’t happen here…could it?

The heavy-handed treatment of anti-monarchy protesters at King Charles III’s ceremony is ominous

We are still reeling from the events of last weekend when a series of protesters were arrested in London. The protesters, from the anti-monarchy group Republic, had liaised with the police in advance and been given the green light for their demonstration. Despite this they were arrested as soon as they turned up, with no reason given. They spent the day in jail. 

This overreach by the police is, sadly, part of a broader pattern of peaceful protesters and journalists reporting on these protests being arrested, all of which has been exacerbated by the passage last week of the Public Order Act 2023 – which Index has opposed from the get-go. 

Commentators have raised the alarm bell. We’re sleep walking into a dictatorship, some have said. Others have warned of the UK turning into an illiberal democracy, like Hungary. So what lessons can we learn from other places that have seen their rights to protest crumble? We asked a series of people – artists, journalists and activists – to share messages with us here. 

‘Akrestsina prison wasn’t born in a day’

I read Julian Assange’s letter to King Charles III from HMP Belmarsh. I recognise the prison he describes. 1,768 political prisoners in Belarus recognise it. Thousands of Belarusians who took to the streets for peaceful protests recognise it. The name of the prison is insignificant. When I tell people in so-called “first-world countries” that I spent nine days in prison for a peaceful demonstration in Belarus, they get shocked. We come to these countries for security and protection, because we believe that the rule of law works there. Who will protect their own citizens from their state? 

As I followed the news from Coronation day, I questioned: why is the smoothness of the show more important than an individual’s right for freedom of assembly? Why is it so much more important that a bill is passed to make detentions of the organisers legal. They were detained before the protest even began. I remember police in Minsk in 2020 arresting us as we walked from different parts of the city, trying to gather in one spot. I remember the Belarusian oppositional candidate Uladzimir Niakliayeu being beaten up and arrested on his way to the protesters on the post-election night on 19 December 2010. I don’t remember it but I read about the opponents of Lukashenka disappearing in the 90s…

Do you think I’m dramatising and it won’t happen in the UK? Not to that extent? Akrestsina prison, this torture chamber where 53 women were kept in a cell for eight, listening to the screams of men raped with a baton on the corridor, wasn’t born in a day. It is the Frankenstein of a society which disregarded the detentions and calls of activists. Don’t let Britain become Belarus.

Hanna Komar, poet and activist from Belarus

‘Authoritarian governments are watching closely’

After Hong Kong finally lifted its last pandemic restrictions in March this year, the first protests were authorised in more than three years. Ever since coronavirus arrived in the city in January 2020, the pandemic had been used as a pretext for banning demonstrations, giving rise to absurd situations where it was legal to gather in a restaurant in a group of 12 but illegal to congregate outside in groups of more than four. Protests still happened during that time, particularly in response to the introduction of the National Security Law in June 2020, but once the Hong Kong government raised the fine for violating the four-person assembly rule to HK$5,000 (£500), many people were deterred. Nonetheless, a blind eye was turned to larger groups who turned out to support the government.

When it became legal to protest again, there were a lot of strings attached, often literally. In March protesters against a proposed land reclamation project and waste-processing facility were forced to wear number tags and walk in a cordoned-off line with heavy police presence, while the organisers had to agree not to exceed the permitted 100 participants. Another march, for women’s rights, was cancelled by organisers after police said there was a risk of violence. Former members of the now-disbanded Hong Kong Confederation of Trade Unions called off a May Day march after one of the organisers was harassed by police.

The right to protest in Hong Kong is now severely circumscribed, to the point that to do so is to invite police attention designed to deter turning out. The National Security Law has also had a chilling effect on people, who might be fearful of losing their job if they take to the streets. The Hong Kong government continues to claim there is freedom of assembly but, like many freedoms in the city these days, it is highly conditional, even hollow.

Tens of thousands of Hongkongers have moved abroad in the past few years, to Taiwan and Singapore, and also to Western countries, including the UK. For many, it is a refuge away from the deteriorating situation back home. But some are also conscious of how things are not perfect in their new adopted countries. The UK’s Police, Crime, Sentencing and Courts Act, with its emphasis on disruption, has aspects that are similar to restrictions back in Hong Kong, while in France, many have been shocked by the brutality of the police in repressing protests against the government’s pension reform law. Unlike in Hong Kong, there is still the possibility of legal recourse against these measures, but Western countries ought to be aware how their repressive tools undermine their own criticism of governments such as China’s and Hong Kong’s. When British police arrest anti-monarchy protesters, authoritarian governments are watching closely, and are only too happy and eager to use this as a justification, however disingenuously, next time they round up protesters on their own turf.

 Tammy Lai-Ming Ho, poet from Hong Kong 

‘Continue standing up for your voice’

Hungary has a long history of protests. In March 1848, a group of intellectuals kicked off a demonstration against the Habsburg empire, which led to the creation of the dual monarchy after a year-long fight. In 1956, university students sparked a mass protest against the USSR, in which over 2,000 people were killed, but which ultimately resulted in a softer governance. It was a series of protests that led to the toppling of Hungary’s last socialist PM, Ferenc Gyurcsány, too, following the leaking and broadcasting of a profane and controversial speech in 2006. A young right-wing party, Fidesz, organised multiple protests.

Ultimately, these events and Fidesz’s role contributed to the election of party chair Viktor Orbán in 2010. Since then, he has been leading the country into an increasingly anti-democratic future, including cracking down on protesters’ rights.

The country has witnessed plenty of protests since, despite increasingly strict laws and growing retaliation. In the latest, students marched against the restrictions of freedom of teachers. Two events, held one week apart in April and May, were both ended by the police spraying tear gas, in some cases directly in the faces of minors.

The popularity of these protests shows that the Hungarian youth isn’t keen on standing down and giving in to a future without voice, joining youth around the world, be it protesting against monarchy, for pensions or human rights.

Videos of this protest see visibly young people tearing down the metal fence in the Buda Castle, climbing on buildings and chanting the mantra of protests around the world: we won’t allow this.

“This shows that we got under someone’s skin, we started doing something… And maybe we will get even more under their skin,” one young protester said when asked why she persists, by the independent portal Telex.hu. Perhaps this should be a message for all protesters around the world: to continue standing up for your voice and displease those who are trying to take it away. 

Lili Rutai, journalist from Hungary

Landmark report finds China using arts “to silence critics and drive censorship”

A new report from Index on Censorship published today (Thursday, December 1st) has laid bare the shocking extent to which Chinese Communist Party (CCP) activity is driving a new era of artistic censorship across Europe.

The report – Whom to Serve? How the CCP censors art in Europe – builds on in-depth interviews with more than 40 leading artists, curators, academics and experts from across Europe, and the findings of more than 35 Freedom of Information requests. It paints a worrying picture of the coordinated campaign by the CCP to undermine artistic freedoms.

Key findings include:

  • Ruthless CCP techniques to limit the spread of critical art, including diplomatic pressure, direct threats to individuals and the propagation of pro-state art.
  • A concerted drive to impose self-censorship on artists working in Europe, including surveillance, interrogations, graffiti and physical attacks.
  • Threats made to those with family in China, Hong Kong and Taiwan.
  • The spread of CCP soft power from visual arts into fine art, sculpture, graphic art, film, fashion and theatre.
  • A murky network of extensive financial and non-financial ties between Chinese companies and state bodies, and European art institutions, the full scale of which is almost impossible to ascertain.

Jemimah Steinfeld, editor-in-chief at Index, said:

“With the kidnapping of a Hong Kong bookseller in Thailand nine years ago, we have long known that the CCP’s police state stretches beyond its own borders. But what this report shows in startling detail is just how far it stretches and how common aggressive tactics are.

“The scale of the CCP’s reach across the arts world is as staggering as its nature is coordinated. This is not a fringe pursuit or some dabbling at the margins – it is a new and growing weapon in China’s arsenal to burnish its image abroad, control how people both view it and discuss it, and to ruthlessly target those who create or curate art they class as dangerous.

“European art galleries and museums are relentlessly targeted by the CCP using a variety of tools. From diplomatic pressure aimed at European artistic institutions to cancel or forcibly change exhibitions, to the championing of a counter-narrative through artistic work that amplifies state propaganda, there is a battle being fought in institutions across Europe.

“With the recent re-entrenchment of Xi Jinping’s leadership and the growth of China as the 2nd largest art market, there are no signs of the CCP stopping.”

The report shows how the CCP targets dissident artists with overt censorship to prevent critical artwork from being made public, and self-censorship to dissuade artists and institutions from taking the risk of criticising both the party and the country. Fear of reprisals against both themselves and their family pushes many artists, even those living in Europe, to avoid sensitive topics.

While large-scale and coordinated, the report shows the CCP’s efforts to be only partially successful. While self-censorship is rife, attempts to pressure European governments to censor artists has largely failed, even in the face of financial hits to both private galleries or museums.

Nik Williams, policy and campaigns officer, Index on Censorship, added:

“With China one of the world’s largest and most rapidly expanding markets for contemporary art, there are also increasing connections between European art institutions and Chinese state linked firms or individuals sympathetic to the CCP.

“The difficulties we faced in tracking and tracing these connections, murky in their nature and opaque in their arrangements, is concerning in itself.  We remain fearful of how these relationships could inform how institutions engage with dissident artists or sensitive topics.”

ENDS

NOTES TO EDITORS

  • You can read the full report, “Whom to Serve?: How the CCP censors art in Europe”, here
  • The report includes exclusive artwork from leading dissident artist, Badiucao, as well as pieces from Lumli Lumlong, Jens Galschiøt and Yang Weidong.

For press and broadcast interview requests, or for further information, please contact:

Luke Holland // [email protected] // +44 7447 008098

New report on China’s influence on the world of art

“If a painting can overthrow a government, then the government must be very fragile”

  • Lumli Lumlong

Since its inception, the Chinese Communist Party (CCP) has sought to exert influence over every component of Chinese society, including the world of art. Art is perceived by the CCP as a tool to legitimise its systems of government, not as an expression of human creativity. This project has taken on global relevance as the CCP has sought to utilise art and culture to counter international criticism on a range of topics including the state’s treatment of Uyghurs and Hong Kong’s independence, and assuage concerns about its growing influence in the world economy and international institutions.

The CCP sees itself as the single arbiter of Chinese culture. By the CCP’s definition, being “Chinese” encapsulates not only Chinese nationals but the entire global diaspora. As a result, even artists living in Europe but originally from mainland China, Tibet, Xinjiang, Hong Kong, Taiwan, and elsewhere can be subject to attempts at censorship if their art does not toe the party line. The tactics used to achieve this goal are diverse: from physical violence and the leveraging of financial ties over European galleries to the threatening of family members. Fear of repercussions for themselves or their families is enough to silence many artists even if they now live in Europe.

The extra-territorial nature of CCP censorship should concern anyone wishing to ensure artistic expression is protected. The perpetual threat of violence against artists and their family members in Europe is a stark reflection of the challenge to freedom of expression that the CCP poses across the world. The ability of the CCP to silence critics and curate conversations about themselves globally is unprecedented.

However, the CCP’s struggle against dissident artists also reflects its weakness. Lumli Lumlong, a Hong Kong painting duo based in the UK, told Index “We really want to expose the cruelty of the CCP. They are fragile, their hearts are made of glass.” While the CCP’s soft power operations in Europe have struggled to influence the artistic landscape in Europe, artists have played a crucial role in raising awareness in Europe of the CCP’s human rights abuses. 

To investigate the current state of artistic freedom in Europe, and whether and how the CCP attempts to undermine it, Index on Censorship has submitted over 35 Freedom of Information requests and has conducted interviews with more than 40 artists, curators, academics and experts from 10 European countries. The report demonstrates how art can be used by states to extend the reach of censorship into cities across Europe, while also offering a powerful way for artists to challenge state power.

You can download the report here

Index Index

What is the Index Index? The Index Index is a pilot project that uses innovative machine learning techniques to map the free expression landscape across the globe to gain a clearer country-by-country view of the state of free expression across academic, digital and...
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