China's propaganda machine

Two Chinese newspapers — the Chongqing Times and West China City Daily —  have been forced to make public apologies after publishing exposés on a recent Chinese Writers’ Association (CWA) meeting. The papers alleged attendees at the Seventh Congress of the CWA stayed in the presidential suites of a five star hotel, ate at lavish banquets and were “whisked away from the airport in Audis”. The CWA hit back, providing a receipt from the Sofitel hotel in an attempt to prove their expenses were moderated, although the receipt was dated 2 April, despite the fact that the event ran from 30 March – 4 April.

The reporter who wrote the original story has now been sacked, and various other staff at the Chongqing Times have also been disciplined and demoted. In a front page apology published on 11 April, the Chongqing Times extolled the virtues of the CWA, promising to “vigorously promote the great efforts of the Chinese Writers’ Association and its authors, whose excellent work reflects society, eulogises our era, [and] enriches the cultural life of the masses”. At the same time, it berated its editors for not “reporting fully on the grand spectacle of this conference, publicising its fruitful accomplishments” and having

a weak political sensitivity and lack[ing] a sense of political responsibility… causing irreparable harm to the Chinese Writers’ Association and the writers attending the conference. This lesson has been profound, and we express our deep sorrow and remorse.

Meanwhile, in order to cultivate an image of a nation of growing “openness” and “transparency”, Xinhua News Agency yesterday published an in-depth interview with the deputy chief of the government’s Internet Affairs Bureau, Liu Zhengrong. The bureau Liu manages is responsible for internet censorship and conversation centred around the development of online media and technology in China. While many aspects were positive, one in particular held a disturbingly chilling tone.

In one section entitled “There is no absolute freedom on the internet”, Liu states that every nation in the world maintains control over internet content and access; he claims that the measures taken by China are no different from those of any others. Although this is true to some extent, no other country has an institutionalised national filtering system as extensive as the Great Firewall, or imprisons the same number of bloggers and netizens.

In order to protect the welfare of the public, Liu said:

We advocate the self-regulation of corporations, and that society help in the supervision and inspection of internet content, as well as the essential technological strategies needed to prevent the circulation of harmful information online. These are the same methods shared internationally by other countries across the world.

The reference to the “self-regulation of corporations” could be seen as a warning to other companies who are considering following in Google’s footsteps and trying to take on the Chinese government. The suggestion that society help in the “inspection” appears to advocate the type of astroturfing carried out by the 50 Cent Party (Wu Mao Dang).

In an attempt to re-educate Chinese netizens, Liu advises those who believe that people “can say whatever they want” in other countries that they are misinformed, the internet is never completely uncensored.  According to Liu, the ministry visited and compared internet management methods in more than 30 countries across the world, and concluded that there was “no such thing as absolute freedom online.”

Liu emphasised that whilst the internet gave a platform for people to discuss and exchange ideas, those who decide to express themselves publicly carry the responsibility to ensure that their views “abide by the laws of the government”.

This account by an official government spokesperson is, of course, only available in the Chinese version of Xinhua.

Honduras: impunity against media closures

On 12 April, a court dropped all the charges against the former commissioners of the National Telecommunications Commission (CONATEL), accused  of the closure of two media during the political crisis of 2009. The Human Rights special prosecutor had accused them of the crime of abuse of authority, for ordering the closing of Channel 36 and Radio Globo, in the context of the political crisis created after the coup d’état against Manuel Zelaya.

Theatre: From Behud to Behzti

From Behzti to Behud was a day of fascinating discussion looking at the impact of the events surrounding the production of Gurpreet Bhatti’s play Behzti at the Birmingham Rep Theatre in 2004.

That production was cancelled when protests from some Sikhs turned violent. The event was produced by Index on Arts, at The Belgrade Theatre, Coventry, either side of the matinee performance of Behud, Gurpreet Kaur Bhatti’s new play which was inspired by those events in Birmingham. Gurpreet Kaur Bhatti made a rare appearance at the after-show discussion and gave her perspective on the “global brand” that Behzti became. Both discussions were recorded and will be available on line shortly.

Two points in the discussion made a particular impression.

The first returns to the 2004 scenario and the thorny issue of the rights and wrongs of consultation — Birmingham Rep invited members of the Sikh community to view the play before the show opened, which arguably ignited the controversy. Trina Jones from Birmingham maintained throughout the discussion that the theatre had learnt from the mistakes it had maid.

A group of women from Birmingham told the meeting how they felt cheated of the opportunity to see their play Behzti. They deeply regretted that they had not been able to organise a counter-demonstration of women who supported the play and they felt they had failed to make their voice heard at the time.

Another member of the audience pointed out: “Would you consult Catholic priests before putting on a play about sexual abuse in the church? “

The Belgrade learned volumes from what happened in Birmingham. What emerged from the discussion in the morning was the role played by the police in putting on Behud based on the possibility or the fear of it causing offence. We heard from Hamish Glen, artistic director of the theatre, that the police had said the theatre would have to pay thousands of pounds to cover policing and security during the play’s run. In the end the police provided the same levels of policing at no cost, but the theatre had to invest huge amounts of energy and resources to head off the ugly possibility of the cost of policing bill scuppering the production the play. In a financial climate of diminishing resources, will the ability of our theatres to put on controversial plays be determined by the ability to pay policing costs, or enter into lengthy negotiations to demonstrate the rights and wrongs of the situation? Belgrade Theatre, the cast and director of the play Behud all displayed iron will in seeing this play through. But as demonstrated by the recent Moonfleece controversy, there is clearly work to be done to ensure that theatre continues to play its role in reflecting contemporary society, and in influencing, shaping, and interrogating our shared culture.

Two Tibetan writers arrested in China

Two Tibetan students studying at the Northwest National Minorities’ University in Lanzhou, Gansu Province, were arrested by Chinese authorities last week. Police raided the rooms of Tashi Rabten (pen name Te’urang) and Druklo (pen name Shokjang), searching their personal possessions and confiscating their mobile phones, laptops and books. Tashi Rabten, editor of the banned literary magazine Shar Dungri (Eastern Snow Mountain), had previously been arrested in June 2009 for editing a collection of political essays called Written in Blood.

SUPPORT INDEX'S WORK