27 Jan 23 | FEATURED: Martin Bright, Index Arts, News and features, Russia, Ukraine, Uzbekistan, Uzbekistan
The title of the play Crimea, 5am refers to the time in the morning the authorities choose to raid the homes of activists in the Russian-occupied territory. It is a time of fear and horror for the Crimean Tatars whose voices make up the text of this verbatim play, taken from the testimonies of the men now held in Putin’s prisons and the families waiting at home for them.
Crimea 5am brings to life one of the lesser-known aspects of the brutal war in Ukraine, which began not in February 2022 but in March 2014. It draws on the oral history of the suppression of the Tatar Muslim minority, who returned to the peninsula in the 1990s following independence after years of exile from their homeland.
Much of what we know of life in Crimea since 2014 has come from activists turned citizen journalists. This is one of the reasons the Russian authorities have cracked down so hard on Tatars, characterizing them either as political extremists or Islamist terrorists linked to the group Hizb-ut-Tahrir.
Two examples from the play show how ordinary Tatars went from being activists, to journalists to dissidents in the face of Russian repression.
Tymur Ibrahimov, 38, moved back to Crimea from Uzbeksitan at the age of six in 1991 after the death of his father. In the play, his wife Diliara, explains his transformation from computer repairman to enemy of the state: “It used to be different, until 2014, you know, back then he would make home videos, he would take pictures of nature, like, of the bees and butterflies on flowers, just like that. It all changed in 2015 and he began making footage of what was going on in Crimea. That is, all the searches, court hearings, “Crimean Solidarity” meetings.” For the crime of recording the resistance of his people Tymur was sentenced to 17 years in prison.
Narminan Memedeminov, 39, also moved back to Crimea from Uzbekistan in 1991. After graduating in economics he became involved in human rights activism and media coordinator for the Crimean Solidarity movement. “Here’s an example: I went and took a video of somebody helping out a prisoner’s family, like, basic stuff, they would take the child to the hospital, help them hang the wallpaper, fix the plumbing, send off the parcels to the detention centre and so on… And in the end, everybody involved was at risk: those who took videos, those who helped, those who did anything at all.”
Index editor at large Martin Bright (left) taking part in a post-play discussion.
The stories have been brought together by two Ukrainian writers, Natalia Vorozhbyt and Anastasiia Kosodii and the project is backed by the Ukrainian Institute and the Ukrainian Ministry of Foreign Affairs as a way of bringing the situation to international attention. I had the privilege of watching a reading of of the play at the Kiln Theatre, Kilburn in London last week with professional actors alongside non-professional activists and supporters. Directed by Josephine Burton and produced by Dash Arts, the play focuses on the domestic lives of the families of the Tatar political prisoners and particularly the women.
Burton told Index that until the 2022 Russian invasion of Ukraine, Crimea has drifted from international attention. “Helped by a media blackout, we forgot that the peninsula has been occupied by Russians for almost nine years now and its Tatar community oppressed,” she said. “Determined to fight this silence, the community has relentlessly documented this oppression – filming and uploading searches, arrests and court cases of its people by the Russian Security Forces. And for this act, these “Citizen Journalists” have been arrested themselves and given insanely long sentences, some for up to 20 years in penal colonies.”
Crimea 5am focuses on the everyday lives of Tatar dissidents, drawn from many hours of recordings with the families of 11 political prisoners. “It builds a beautiful and powerful portrait of a community, ripped apart by this tragedy, but also woven with stories of love and resilience through the prism of the wives left behind. It is this mix of tenderness and humour alongside the unfathomable darkness which enables its impact. We the audience become invested in their lives and feel the impact of their tragedy deeply.”
Dash Arts is looking for further opportunities to perform Crimea 5am: https://www.dasharts.org.uk/
22 Jun 22 | Afghanistan, Africa, Americas, Asia and Pacific, Belarus, China, Europe and Central Asia, European Union, Hungary, India, Kenya, Magazine, Magazine Contents, Philippines, Poland, Russia, Turkey, Ukraine, United Kingdom, United States, Volume 51.02 Summer 2022 Extras
The summer issue of Index magazine concentrated its efforts on the developing situation between Russia and Ukraine and consequential effects around Europe and the world.
We decided to give voice to journalists, artists and dissidents who chose to respond to this ruthless war. At the same time, we didn’t forget other attacks on freedoms that haven’t been covered around the globe as much as they should.[/vc_column_text][vc_custom_heading text=”Up front”][vc_column_text]Joining Ukraine’s battle for freedom, by Jemimah Steinfeld: We must stand with the bold and brave against Putin.
The Index: A global tour of free expression, departing from the poll booth and arriving at the journalists reporting under Taliban rule.[/vc_column_text][vc_custom_heading text=”Features”][vc_column_text]Fifty years of pride and prejudice, by Peter Tatchell: Following the rise and
corporate fall of London’s march for LGBT rights, will grassroots voices rise again?
India’s meaty issue, by Aishwarya Jagani: When a burger comes with a side of oppression.
Cartoon, by Ben Jennings: Art imitates life, caveman style.
My three years of hell in an Uyghur ‘re-education’ camp, by Gulbahar Hatiwaj and Rahima Mahmut: As the world stays silent, hear the truth from inside China’s brutal concentration camps.
One step ahead of the game, by Chen Dan: Media criticism of the Chinese government is all part of the power play.
Welcome to the kingdom of impunity, by Michael Deibert: The landscape is dangerous for journalists in Haiti. Murders and kidnappings are a daily risk.
Politically corrected? By Issa Sikiti da Silva: The banned words the Kenyan
government doesn’t want to hear in this election year.[/vc_column_text][vc_custom_heading text=”Special report: The battle for Ukraine”][vc_column_text]Losing battle for truth in Russian lecture halls, by Ilya Matveev: The war has put a new strain on academic freedom. A Russian lecturer laments his lost classroom.
Don’t be afraid to say two plus two is four, by Mark Frary and Alla Gutnikova: As a convicted student journalist speaks out for freedom, do Russian dissidents once again face the gulag?
Emotional baggage, by Slavenka Drakulic: How it feels to pack up a life in Ukraine and become a refugee.
Back to the future, by Martin Bright: The world has been turned
upside down for Ukrainian reporters, and this is their new landscape.
On not being shot, by John Sweeney: Amidst the Kremlin-wrought
wreckage, do we need a new era of journalism?
Russia’s trojan horse moves closer to Europe, by Viktória Serdult: In Hungary, Putin’s right-hand man and Europe’s right-wing firebrand wins again.
Turkey’s newfound russophilia, by Kaya Genç: Putinism is seeping into Turkey, and it spells trouble for future freedoms.
Divided by age and a tv screen, by Hanna Komar: How do you make sure your
family see the truth when they’re blinded by Kremlin propaganda? A Belarus activist speaks out.
Culture in the cross hairs, by Andrey Kurkov: Decades after Soviet rule, Ukrainian culture is once again under threat, as are the lives behind the creative expression.
Bordering on media control, by Kseniya Tarasevich: False information about
Ukraine finds fertile breeding ground in Poland.
Treat tragedies of the Ukraine war with dignity, by Olesya Khromeychuk: The grieving hearts left behind when death becomes news fodder.
Worth a gamble, by Jemimah Steinfeld: When telling the truth is a crime, turn to a criminal spam operation.[/vc_column_text][vc_custom_heading text=”Comment”][vc_column_text]
Cancel Putin, not culture, by Maria Sorenson: Banning Russian artists assumes
that they are all collaborators of the Russian state and goes against artistic freedoms.
Beware the ‘civilisation’ battle, by Emily Couch: Why Europe must reject
anti-Asian racism to fully stand with Ukraine.
The silent minority, by Ruth Smeeth: A tribute to those whose work never saw the light of day.[/vc_column_text][vc_custom_heading text=”Culture”][vc_column_text]‘The light is no longer the light it used to be’, by Lyuba Yakimchuk: The poet on children being indoctrinated and the elderly disorientated in Russia-occupied Ukraine.
A cassandra worth heeding, by Dominic Cavendish: Murdered Russian journalist
Anna Politkovskaya, whose dispatches from Chechnya should be put in the spotlight.
Poetic injustice, by Stephen Komarnyckyj: History is repeating itself
on the pages penned by Ukrainian writers.
Banking on Russia’s poetic spirit, by Maria Bloshteyn and Yulia Fridman: A “piggy bank” of Russian poetry is fighting on the right side of Putin’s war.
Metaphors and madness, by Eduardo Halfon: In Guatemala, truth is best expressed through fiction.
Metal shows its mettle, by Guilherme Osinski: A heavy metal band labelled
“satanic” by Iran is free from prison and taking back the microphone.
America’s coming crucible, by Jo-Ann Mort: Women in the USA might soon be in the dark about their own bodies.
22 Jun 22 | Magazine, Magazine Editions, Volume 51.02 Summer 2022
In the summer 2022 issue of Index on Censorship, people across the spectrum talk about the corrosive effect of the war in Ukraine on freedoms. Viktoria Sedult, a journalist in Hungary, writes about how Europe’s most right-wing leader, Prime Minister Viktor Orbán, used fears of being embroiled in the war to secure a resounding electoral victory. Hanna Komar, an activist from Belarus, tells how she is desperately trying to challenge her parents on the lies they see on their TV. We give space to Ukrainian writers and artists, with a moving essay from Andrey Kurkov on how today, as in the past, Russia is trying to erase Ukraine’s culture, and a discussion with the poet Lyuba Yumichuk on children in Donbas being fed an alternative history. We publish the court statement from student journalist Alla Gutnikova, one of the Doxa Four sentenced to two years’ “correctional labour” in April, alongside an interview with her. Ilya Matveev, a Russian academic, writes about the incredibly difficult environment in his St Petersburg classroom, which eventually led him to flee. And we spotlight the amazing ways people are fighting back.
Author
Andrey Kurkov is an Ukrainian author who has written about 20 documentary, fiction and TV movie scripts and also 19 novels, including the bestseller Death and the Penguin. Read More
Author
Human rights campaigner
Peter Tatchell is the director of human rights organisation the Peter Tatchell Foundation and highly acknowledged for his work with the LGBT movement.
Human rights campaigner
Artist and Activist
Rahima Mahmut is the director of the World Uyghur Congress (UK) and Adviser to the Inter-Parliamentary Alliance on China.
Artist and Activist
by Index on Censorship | 22 Jun 22 | Afghanistan, Africa, Americas, Asia and Pacific, Belarus, China, Europe and Central Asia, European Union, Hungary, India, Kenya, Magazine, Magazine Contents, Philippines, Poland, Russia, Turkey, Ukraine, United Kingdom, United States, Volume 51.02 Summer 2022 Extras | 0 Comments
The summer issue of Index magazine concentrated its efforts on the developing situation between Russia and Ukraine and consequential effects around Europe and the world. We decided to give voice to journalists, artists and dissidents who chose to respond to this...
22 Apr 20 | Covid 19 and freedom of expression, News and features
[vc_row][vc_column][vc_single_image image="113291" img_size="full"][vc_column_text]The Indian state’s response to the coronavirus outbreak has seen an acceleration of violence against Muslims, further silencing of political dissent and attacks on press freedom. These trends are being tracked on the Index on Censorship global map monitoring media freedom violations during the coronavirus pandemic, put together by our staff, our contributors and readers as well as our partners at the Justice for Journalists Foundation.
One pattern to emerge is Prime Minister Narenda Modi’s determination to control the coronavirus narrative. Before the lockdown was announced, Modi met with the press to urge them to only publish “inspiring, positive stories” about the government’s handling of coronavirus. Many outlets have buckled under the pressure, fearful of being branded unpatriotic. As reported on the Index map, part of this was a campaign by Modi’s government for advertisers and businesses to cut support for independent news outlets. This has presented an enormous danger to the free press in India. If only pro-government media are allowed to flourish during one of the biggest global crises in recent years, those with the power to protect, or neglect, people’s health and well-being will not be held to account for their actions.
Journalists whose reporting does not follow the party line on coronavirus face harassment and detention by the state. For example, independent news website the Wire reported that Yogi Adityanath, a fundamentalist Hindu cleric and chief minister of India’s largest state Uttar Pradesh, attended a religious ceremony after the lockdown had been announced. This did not chime well with the presiding narrative that the Muslim community are to blame for the spread of the virus. There have been reports that Siddharth Varadarajan, founder-editor of the Wire, is now facing criminal proceedings for, among other things, “creating or promoting enmity between classes”.
Thousands of people, including jurists and academics, have signed a public statement condemning the state’s actions, calling legal action against Varadarajan an attack on press freedom. While this support is undoubtedly appreciated by Varadarajan, Modi’s attitude towards the press since he came to power in 2014, and continuing in the wake of coronavirus, means things do not bode well for him.
But these are not the only attacks tracked on our map. Journalists have also faced physical violence in the street while trying to report on the outbreak. Naveen Kumar from news website Aaj Tak was beaten by police in Delhi on his way to his office on 23rd March. On the same day Ravi Reddy, bureau chief at The Hindu, was attacked by three policemen in Hyderabad. Mendu Srinivas, political bureau chief at Andhra Jyothy, was also beaten by police in Hyderabad. Since 2014, there have been over 200 serious attacks on journalists.
We have also had reports of journalists being accused of spreading “fake news”. As with many allegations of fake news that we have tracked on the map, more often than not the charge is being used to silence people. At the same time, misinformation is being allowed to spread like wildfire. In a sadly predictable turn of events, rumours have spread online that the Muslim community is responsible for the virus’ spread.
As a result, Muslims have been physically attacked in the street and Sikh temples have warned people against buying milk from Muslim dairy farmers, claiming it is infected with coronavirus. Mohammed Haider, who runs a milk stall, told The New York Times: “People only need a small reason to beat us or lynch us.” The Indian Express, a widely read daily national newspaper, reported that hospitals were segregating Muslim and Hindu coronavirus patients, quoting a doctor as saying it was a government decision.
The events of the past year have shone a light on the mistreatment of Muslims in India. The repealing of Article 370 and the subsequent internet shutdown in Jammu and Kashmir from August, and the Citizenship Law in December, both discriminated against Muslims. Now the coronavirus outbreak has provided another excuse to demonise and discriminate Muslims in the country.
And this might highlight the biggest trend of all, namely that the coronavirus outbreak has exacerbated issues already bubbling beneath the surface since Modi came to power in 2014. In this environment, a free press has never felt more important.
If you know of any examples of violations against the media in India or elsewhere, please do report them to our map. [/vc_column_text][/vc_column][/vc_row]
