Project Exile: Moroccan journalist Hicham Mansouri flees after being stripped and jailed

[vc_row][vc_column][vc_column_text]This article is part of Index on Censorship partner Global Journalist’s Project Exile series, which has published interviews with exiled journalists from around the world.[/vc_column_text][vc_single_image image=”107703″ img_size=”full”][vc_column_text]When the security software on Moroccan journalist Hicham Mansouri’s computer alerted him that there had been a number of attempts to hack his email, he did what came naturally: he began investigating. 

Little did he know that the 2015 incident would be followed by a bizarre effort by Moroccan police to sexually humiliate him and a female friend and ten torturous months in jail after being arrested on trumped-up charges of operating a brothel and adultery, which is illegal in the North African nation. 

Efforts to prosecute or intimidate journalists are not unusual in Morocco, and as Mansouri’s story demonstrates, the government of King Mohammed VI can be both cruel and creative in its efforts to silence dissenting voices. The kingdom ranks 135th out of 180 countries on Reporters Without Borders’ 2019 World Press Freedom Index, below nations like Afghanistan, Zimbabwe and the Philippines. Morocco was also named in a 2018 report from the Canadian Citizen Lab as a country where Pegasus spyware is used to track mobile phones of civil society activists. 

Mansouri himself, a co-founder of the Moroccan Association of Investigative Journalists, had already been beaten up by strangers in September 2014 after leaving a meeting at a hotel with the Moroccan historian and prominent dissident Maâti Monjib. Even today, after 10 months in jail on adultery charges, two hunger strikes and three years in exile in France, Mansouri faces pending charges of threatening state security in Morocco. These stem from his involvement with StoryMaker, an app that helps citizen journalists create video reports based on events they witness. 

Yet Mansouri remains undaunted. Now living in France, he blogs for the French online investigative and opinion site Mediapart and contributes to the Italian newspaper Caffe Dei Giornalisti as well as the online site of Maison des journalistes, a group that provides housing to journalists in exile. Mansouri spoke with Global Journalist’s Gaëlle Fournier about his imprisonment, his continuing legal troubles and life in exile. Below, an edited and translated version of their conversation:[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]

Hicham Mansouri was beaten up on September 24, 2014. (Photo: Ahmed Bensedik)

Hicham Mansouri was beaten up on September 24, 2014. (Photo: Ahmed Bensedik)

Global Journalist: Tell us about your journalism career.

Hicham Mansouri: I worked for a regional newspaper called Machahid in [the southern coastal city of] Agadir and then for the non-governmental organisations Free Press Unlimited and International Media Support in Rabat. 

In 2009, I participated in an investigative journalism programme. With some colleagues, we decided to create a network of Moroccan investigative journalists. The association was recognised in 2011, two days after the Arab Spring began in Morocco. I was then programme director of the association, but now the association has ceased its activities. The website of the AMJI [Moroccan Association for Investigative Journalism] was hacked and replaced by pornographic content. We were censored and received threats.

GJ: How would you describe the environment for the press in Morocco?

Mansouri: Freedom of the press is differentiated geographically. If you’re living around Casablanca or [the capital] Rabat, more things are tolerated than they are in the countryside.

There are what is commonly called the three “red lines” in Morocco. These topics are likely to be censored: Islam, the monarchy and the issue of Western Sahara [a territory claimed by Morocco]. 

All independent newspapers that have addressed these issues have been punished by the authorities. Editors have been put in jail, so they cease their activities. There is a lot of self-censorship

Some journalists are even in trouble for translating foreign articles into Arabic. Not many people read newspapers in Morocco as there is a high illiteracy rate. The journalists who get in trouble are [often] the broadcasters. 

GJ: You spent 10 months in jail after being arrested for adultery and operating a brothel. This came right after you began investigating the electronic surveillance of journalists and activists, including yourself.

Mansouri: I was working on an investigative piece about electronic surveillance when I got arrested by the police in 2015. I’m not a cybersecurity specialist, but thanks to software, I found the IP addresses [of the cyber attacker]. They were protected by malware and I decided to investigate. I tried to delete the two addresses but found that they could not be deleted.

I found this strange, so I contacted the creator of the [security] software who indeed told me that there was something wrong. 

Three days later, I was arrested. It was around 10am on a morning back in 2015. I was seeing a female friend and five minutes after she arrived, the police broke down the door of my apartment and forced me to undress.

They also tried to undress the woman in order to stage a scene showing us engaged in adultery. The police filmed the entire thing from the beginning. 

At trial, we asked the police video be shown as proof of what happened, but they refused. They only showed pictures they took of me, almost naked, on my bed. They also said they found a used condom on the bed. 

I had been assaulted a few months prior to this, so I was really paranoid. I found out later that I had been watched by the police for a few months prior to my arrest. 

GJ: You were later jailed on the adultery charge. Tell us about your time behind bars.

Mansouri: It was very hard. I felt the invisible hand of repression and it followed me everywhere. 

The first day in jail, I was thrown in a cell with [serious] criminals, while I should have been assigned to the what’s called Block A, which is reserved for first-time offenders like me. I was sent to Block D, which the inmates call “the trash,” the worst of all. The cell was overcrowded. I had to sleep on the floor in unsanitary conditions. Within a week I was infested with lice. 

The worst was the violence I witnessed, including fights between inmates and self-harm. I even thought some of the fights were orchestrated to kill me. 

I went on two hunger strikes, which eventually led the authorities to provide me with some books and newspapers and assign me to a block with inmates suspected of terrorism, who were watched by policemen. 

I tried to survive and write about my memories in jail. This diary project is not so much about sharing my experience, it’s about telling the stories of the inmates I met, who came back from Syria, were tortured, used drugs. However, my experience in jail is not unique. It is one all activists and journalists [jailed in Morocco] have to go through.

Hicham Mansouri being welcomed out of the prison by his friend and colleague Maâti Monjib, who was nominated for an Index on Censorship Award for Campaigning in 2017. Monjib, a historian and writer, along Hicham Mansouri and five other journalists, is accused of endangering Moroccan state security. Their trial has been postponed 14 times since its start in 2015.

Hicham Mansouri being welcomed out of the prison by his friend and colleague Maâti Monjib, who was nominated for an Index on Censorship Award for Campaigning in 2017. Monjib, a historian and writer, along Hicham Mansouri and five other journalists, is accused of endangering Moroccan state security. Their trial has been postponed 14 times since its start in 2015.

GJ: Even though you’re in France, you still face trial in Morocco on “suspicion of endangering state security” along with six co-defendants. This charge was also brought against you in 2015 and the trial has been postponed 14 times.

Mansouri: It began with a citizen journalism project called StoryMaker, created in partnership with Free Press Unlimited and The Guardian. We are officially accused of falsifying videos and photos with this app, which we created to be a reporting tool for citizens. 

The authorities told me that “investigation” is the work of the police, not the media. We are even accused of spying and diverting funds from state-owned media. There is no evidence for any of this.

Every time there is a hearing [in Rabat], the file is not even open and the trial is postponed to another date. It’s like the sword of Damocles. Before, we used to defend our innocence. But now we just want the matter brought before a judge for a decision, whether it’s for or against us. 

GJ: Even after you were jailed, you did a major environmental investigation. What did you find?

Mansouri: In 2016, I did an investigation about Morocco importing 2,500 tons of toxic industrial waste from Italy. The toxic industrial waste was burnt to make cement in Morocco, something that is strictly forbidden in Europe.

Based on documents, it revealed the existence of indirect links between cement works owned by the king’s holding company and an international environmental business tied to the Italian mafia. It was published by the news site Lakome2, whose founder is actually being prosecuted for “sympathising with terrorism”.

GJ: How did you decide when was the right time to leave Morocco?

Mansouri: I made the decision to leave my country when I was in jail. I did not tell anyone. The physical and psychological torture I experienced led to my exile. My first day in prison, I had tachycardia [abnormally fast heartbeat], and I was beaten by a prison guard. I really felt suicidal. I felt like I was suffocating, not able to speak, to cry, to scream. I was ready to do anything to leave this hell. 

I decided to leave Morocco when I learned that the judge who sent me to jail [for adultery] was also the one who was going to work on the state security case. I know how he proceeds and it did not portend anything good.

When I learned this, I had been in jail for six months. It was a nightmare. It was as if I was in a bottomless pit. Everything was dark. I could not bear staying five more years in jail when I could have spent those years studying for a PhD. 

GJ: What are your plans for the future?

Mansouri:  Living in exile is far from being easy. You have to start for scratch.

I was mostly busy over the past two years with my asylum application, which was a real obstacle course.

I’m now working on an observation project on hate speech in several countries of the MENA (Middle East and North Africa) region like Jordan, Tunisia, Egypt for the NGO MENA Media Monitoring. We have published two reports so far. I continue to fight for what is happening in Morocco, I keep on testifying to show the truth. I’m publishing from time to time articles on my Mediapart blog. I’m also finishing my master’s in political science[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/2″][vc_video link=”https://youtu.be/6BIZ7b0m-08″][/vc_column][vc_column width=”1/2″][vc_column_text]Index on Censorship partner Global Journalist is a website that features global press freedom and international news stories as well as a weekly radio program that airs on KBIA, mid-Missouri’s NPR affiliate, and partner stations in six other states. The website and radio show are produced jointly by professional staff and student journalists at the University of Missouri’s School of Journalism, the oldest school of journalism in the United States. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”Don’t lose your voice. Stay informed.” use_theme_fonts=”yes”][vc_separator color=”black”][vc_row_inner][vc_column_inner width=”1/2″][vc_column_text]Index on Censorship is a nonprofit that campaigns for and defends free expression worldwide. We publish work by censored writers and artists, promote debate, and monitor threats to free speech. We believe that everyone should be free to express themselves without fear of harm or persecution – no matter what their views.

Join our mailing list (or follow us on Twitter or Facebook). We’ll send you our weekly newsletter, our monthly events update and periodic updates about our activities defending free speech. We won’t share, sell or transfer your personal information to anyone outside Index.[/vc_column_text][/vc_column_inner][vc_column_inner width=”1/2″][gravityform id=”20″ title=”false” description=”false” ajax=”false”][/vc_column_inner][/vc_row_inner][/vc_column][/vc_row][vc_row full_width=”stretch_row_content”][vc_column][three_column_post title=”Global Journalist / Project Exile” full_width_heading=”true” category_id=”22142″][/vc_column][/vc_row]

Breaking the digital sphere: a campaign to fight for protection of online spaces

[vc_row][vc_column][vc_column_text]Social media platforms wield immense control over the information we see online. With rising pressure from governments; and increasing reliance on algorithms, social media platforms are in danger of silencing millions of activists and marginalised groups across the world with content takedowns and blocked accounts.

You are invited to hear the views from our panellists and take part in a discussion that will shape ARTICLE19 campaign.

Our vision for the campaign is to safeguard freedom of expression online. This cannot be achieved without better accountability and transparency. We will be calling on social media platforms to respect due process guarantees and create clear and transparent mechanisms to enforce such guarantees. Some questions we will be discussing include:

● How content takedown and account deactivation is affecting activism?
● What is the scale of the problem and its impact on free speech?
● What is the role of authorities for content takedown on social media platforms?
● What can be done to improve accountability and transparency online?
● What can the campaign do to amplify voices of those seeking change?[/vc_column_text][vc_custom_heading text=”Panelists” font_container=”tag:h3|text_align:left” use_theme_fonts=”yes”][vc_row_inner][vc_column_inner width=”1/2″][vc_single_image image=”107205″ img_size=”full”][vc_column_text]Thomas Hughes has been executive director of ARTICLE 19 since 2013. For the past two decades, Hughes has worked on human rights and media development issues, including as deputy director of International Media Support (IMS) between 2005 and 2010, as well as previously for the United Nations, European Commission and Organisation for Security and Cooperation in Europe (OSCE).[/vc_column_text][/vc_column_inner][vc_column_inner width=”1/2″][vc_single_image image=”107204″ img_size=”full”][vc_column_text]Jennifer Robinson is a barrister in London. Her practice focuses on international law, free speech and civil liberties. She advises media organisations, journalists and whistle-blowers on all aspects of media law. Robinson serves as a trustee for the Bureau for Investigative Journalism, and sits on the advisory board of the European Center for Constitutional and Human Rights and the Bonavero Human Rights Institute at the University of Oxford.[/vc_column_text][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner width=”1/2″][vc_single_image image=”107206″ img_size=”full”][vc_column_text]Pavel Marozau is a civic and internet activist. He was under politically motivated persecution by the Belarusian authorities for producing satirical animated films casting president Lukashenko, being accused of slandering the Belarusian president. During the Geneva Summit, Marozau founded a network of activists from Iran, Burma, Venezuela, Cuba, Zimbabwe, and Egypt, as well as a founder of counter-propaganda web-television ARU TV.[/vc_column_text][/vc_column_inner][vc_column_inner width=”1/2″][vc_single_image image=”107207″ img_size=”full”][vc_column_text]Paulina Gutiérrez is an international human rights lawyer and internet freedom advocate in Latin America. She holds a degree in law and another one in international relations. During the last four years, Gutiérrez designed and developed the digital rights agenda for ARTICLE19 Mexico and Central America Regional Office. She’s also a member of INDELA’s Advisory Board and BENETECH’s Human Rights Program Advisory Board.[/vc_column_text][/vc_column_inner][/vc_row_inner][vc_column_text]

When: Thursday 20 June 5:30-10pm
Where: The Law Society’s Hall, 113 Chancery Lane, London WC2A 1PL
Tickets: Free. Registration required via Eventbrite

[/vc_column_text][vc_column_text]Presented in partnership with[/vc_column_text][vc_row_inner][vc_column_inner width=”1/4″][vc_single_image image=”60288″ img_size=”full”][/vc_column_inner][vc_column_inner width=”1/4″][/vc_column_inner][vc_column_inner width=”1/4″][/vc_column_inner][vc_column_inner width=”1/4″][/vc_column_inner][/vc_row_inner][/vc_column][/vc_row]

Out of Joint / Rita Sue and Bob Too by Andrea Dunbar

[vc_row][vc_column][vc_column_text]Name of Art Work: Rita Sue and Bob Too by Andrea Dunbar
Artist/Company: Out of Joint
Date: September – December 2017
Venue: Royal Court (as part of a UK tour)
Brief description of the artwork/project: Andrea Dunbar’s play Rita Sue and Bob Too was commissioned by Max Stafford-Clarke, then artistic director of Royal Court, in 1982. It is set on the estate Dunbar grew up on, and tells the story of the relationship between a married man and his two teenage babysitters. Out of Joint – a theatre company founded by Stafford-Clarke – revived the play to tour in Autumn and Winter 2017 as co-production with the Royal Court. [/vc_column_text][vc_single_image image=”106743″ img_size=”full” add_caption=”yes”][vc_custom_heading text=”Why was it challenged?” font_container=”tag:h3|text_align:left” use_theme_fonts=”yes”][vc_column_text]The play was originally to be co-directed by Stafford-Clarke and Kate Wasserburg who joined the company in July 2017, but Stafford Clark left Out of Joint on September 11th, three days into the rehearsal period. One month later, on 20th October, it emerges that he was forced out of the company for inappropriate, sexualised behaviour. Around the same time, Vicky Featherstone – artistic director of the Royal Court – organises a day of action in response to the Weinstein revelations, looking at sexual harassment in theatre, in the context of the #MeToo movement. When Featherstone and the production team went to see the play on tour, they were concerned that the content, particularly of the first scene, which shows Bob grooming the girls for sex, which is then enacted in his car, and the association with Max Stafford-Clark, was directly at odds with the theatre’s day of action.[/vc_column_text][vc_custom_heading text=”What action was taken?” font_container=”tag:h3|text_align:left” use_theme_fonts=”yes”][vc_column_text]On 13th December, The Royal Court decides to cancel the planned production of Rita Sue and Bob too. They release a joint statement with Out of Joint:

“The departure of Max Stafford-Clark from Out of Joint and the recent allegations in the media have coincided with Royal Court’s response to the spotlight on our industry and the rigorous interrogation of our own practices….On our stage [at the day of action] we recently heard 150 stories of sexual harassment and abuse and therefore the staging of this work, with its themes of grooming and abuses of power on young women, on that same stage now feels highly conflictual.”[/vc_column_text][vc_custom_heading text=”What happened next?” font_container=”tag:h3|text_align:left” use_theme_fonts=”yes”][vc_column_text]The cancellation of the play met a lot of criticism and accusations of censorship, and is described as “punishing women for the misdeeds of men.” Two days after the cancellation, the Royal Court decides to reinstate the play, with a statement from Vicky Featherstone: “I have … been rocked to the core by accusations of censorship and the banning of a working-class female voice. For that reason, I have invited the current Out of Joint production of Rita, Sue and Bob Too back to the Royal Court for its run. As a result of this helpful public debate we are now confident that the context with which Andrea Dunbar’s play will be viewed will be an invitation for new conversations.”[/vc_column_text][vc_custom_heading text=”Reflections” font_container=”tag:h3|text_align:left” use_theme_fonts=”yes”][vc_column_text]Vicky Featherstone

This process made me reflect on what true censorship means. This writer was not being censored at all, Andrea Dunbar’s voice had been fully celebrated and given a wide platform over the years and through the long tour of this play leading up to our run. It was the context within which the co-production had been created which was changing and challenging. In the light of Max’s departure from Out of Joint, we made the initial decision to take the work off. It felt naïve of me to still put the play on when the production (directed now by Kate Wasserberg), which I admired, chose not to carry the burden of the changed context in any way. Once this decision was public and the accusation of censorship had been levelled at us, it was clear that no statement could counter that – rather a gesture had to. Hence putting it back on. Putting the play back on enabled us to shift the context and was not about censorship.

Writers at the Royal Court do experience true, profound and dangerous censorship – we work with gay writers in Zimbabwe who get beaten up on the street for their sexuality, Palestinian and Syrian writers who can’t get visas to come to workshops, and with women from UK communities who demand to remain anonymous for fear of the backlash against their stories.

Kate Wasserburg

The Royal Court team were concerned about the association with Max Stafford Clark – although I had taken over very early in rehearsals he is of course historically associated with the play. When they first came to see the play on tour they raised concerns about the content of the play and of course there was a lot of press coverage about Max leaving the company at the time and this definitely played into the decision to cancel the run at the Royal Court.

I stand by the play and the production and I’m very glad it was reinstated. The revival played to over 30,000 people and for us is the cornerstone of our company, putting political work from under-represented voices on stage.  It is doing everything that an Out of Joint production should. It talks about poverty, Thatcherism, gender oppression, class oppression but it’s really funny and people all over the country turned up in droves and brought their auntie or grandma, or mum or dad.  They stayed for the after show talk which I did in almost every venue. We talked about everything from the Rotherham grooming scandal to Thatcherism, swearing, economics, – it felt hugely important to us as a great national work.

I don’t think the cancellation in London made a difference to audiences on tour. Regionally they embraced it and took it on its own terms. It made the run in the Royal Court fascinating in a way that it probably wouldn’t have been if had not been cancelled. The meta conversation that was happening in that audience was really interesting and we had some incredible post show talks there too – the passionate engagement with Andrea’s writing was very exciting.[/vc_column_text][three_column_post title=”Case studies” full_width_heading=”true” category_id=”15471″][/vc_column][/vc_row]

Podcast: Is there a global crisis for local newspapers?

Is this all the local news? We discuss this in the latest podcast. In the spring 2019 edition of Index on Censorship magazine, we explore what happens when the local news media is not there to hold power to account. Guests on this edition of the podcast are all featured in the latest magazine. Beijing-based reporter Karoline Kan, who writes for this issue, explores whether China’s social credit system could impact local journalism; Ian Murray, director of the Society of Editors, discusses a new survey where local editors talk about their fears for the future; co-founder of the Bishop’s Stortford Independent Sinead Corr talks about how she recently launched a new and successful local paper; plus in a special segment current Index youth board members Arpitha Desai, hailing from India, and Melissa Zisengwe, originally from Zimbabwe but now living in South Africa, talk about the strengths and weaknesses of community news in their countries.

Print copies of the magazine are available on Amazon, or you can take out a digital subscription via Exact Editions. Copies are also available at the BFI, the Serpetine Gallery and MagCulture (all London), News from Nowhere (Liverpool). Red Lion Books (Colchester) and Home (Manchester). Each magazine sale helps Index on Censorship continue its fight for free expression worldwide.

The Spring 2019 podcast can also be found on iTunes.

SUPPORT INDEX'S WORK