23 Aug 2018 | Bahrain, Bahrain Letters, Campaigns -- Featured, Statements
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Dear Your Majesty,
My name is Ali Mushaima, and I am writing to ask Your Majesty to help me save the life of my 70-year-old father, Hassan Mushaima, who is now paying a harsh price for demanding human rights and democratic change in Bahrain in 2011.
The deep relations between Buckingham Palace and its Bahraini counterpart have been celebrated on many occasions. Your Majesty has now played host to King Hamad of Bahrain at the Royal Windsor Horse Show for several years, even offering him the privilege of a seat next to Your Majesty during the event. Last year, Your Majesty gifted King Hamad a three-year-old Arabian stallion, Hamdani Ra’ad, thereby publicly declaring the strength of your personal relationship with the Bahraini Royal family. I am sure that your gift is now receiving the best possible care in Bahrain; regrettably, this is not a luxury afforded to political prisoners. My father is not even entitled to enjoy his basic human rights while he is unfairly rotting in infamous Jau Prison.
The total indifference my father’s case has received from both the Bahraini Government and the Foreign and Commonwealth Office has left me with no choice but to follow my father’s firm commitment to peaceful protest. Today, I am sitting outside the Bahraini Embassy in Belgrave Square, only half a mile away from Buckingham Palace, preparing myself to enter the 21st day of my hunger strike to protest his inhumane treatment.
I start each day by walking to Victoria Station to bathe, before returning to the site of my protest which, so far, has done little to improve my father’s prison condition. After 20 days, I am deeply disappointed that my simple requests have fallen on deaf ears. Life imprisonment is not considered cruel enough by those who seek to silence my father, as it appears that the Bahraini government deem the dignity and well-being of a human less worthy than that of a horse.
The Bahraini authorities are now slowly but deliberately killing him by denying him access to vital medical care. My father suffers a number of serious chronic illnesses, including erratic blood pressure and diabetes, and is also a survivor of lymphoma cancer. On a daily basis, he is required to take a variety of medications to stabilise these conditions. Without them, his life is at risk. Since 2016, however, the government has prevented him from seeing an oncologist to determine whether his lymphoma cancer has returned, despite the need for screenings every six months.
These life-threatening measures add to the humiliation my father is constantly subjected to. My father has not seen his family since February 2017, as authorities have punished political prisoners specifically by imposing further degrading restrictions on healthcare, family visits and access to books. Political prisoners are forcibly chained and shackled if they want to see their beloved ones. My father, however, refused to accept these demeaning conditions.
My doctor has expressed serious concerns about my considerable weight loss. Nonetheless, my frustrations have led me to explore more extreme avenues: I will go on a full hunger strike by sacrificing my intake of vital sugars (through juice), despite the risks this entails for my own health, if the Bahraini authorities do not meet my demands by next week.
This week I will be celebrating Eid in Belgrave Square rather than at home, with my beloved wife and 4-months-old daughter. While I will only be denied the comfort of home on this special day, at least I will be celebrating as a free man. My father, instead, is being forced to spend yet another Eid behind bars and separated from his family, who he has not seen for over 18 months, a basic right that seems to have become a privilege.
I would like to ask Your Majesty to use the influence and strong friendship with the King of Bahrain to help me save my father. All I ask for is for him to be treated humanely, including access to adequate medical treatment, books, and family visitation without subjecting him to humiliating measures.
To end, I hope Your Majesty makes it clear to their Bahraini King that the rights and dignity of a human being are non-negotiable, and that the United Kingdom’s strong commitment to these principles goes far beyond historical ties and so will not be compromised.
Your Sincerely,
Ali Mushaima
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2 Aug 2018 | Artistic Freedom, Event Reports, News and features
[vc_row][vc_column][vc_raw_html]JTNDaWZyYW1lJTIwc3JjJTNEJTIyaHR0cHMlM0ElMkYlMkZ3d3cuZmFjZWJvb2suY29tJTJGcGx1Z2lucyUyRnZpZGVvLnBocCUzRmhyZWYlM0RodHRwcyUyNTNBJTI1MkYlMjUyRnd3dy5mYWNlYm9vay5jb20lMjUyRmdheXRpbWVzJTI1MkZ2aWRlb3MlMjUyRjEwMTU2MjA2MDM5MDM2MjczJTI1MkYlMjZzaG93X3RleHQlM0QwJTI2d2lkdGglM0Q3MDAlMjIlMjB3aWR0aCUzRCUyMjcwMCUyMiUyMGhlaWdodCUzRCUyMjQwMCUyMiUyMHN0eWxlJTNEJTIyYm9yZGVyJTNBbm9uZSUzQm92ZXJmbG93JTNBaGlkZGVuJTIyJTIwc2Nyb2xsaW5nJTNEJTIybm8lMjIlMjBmcmFtZWJvcmRlciUzRCUyMjAlMjIlMjBhbGxvd1RyYW5zcGFyZW5jeSUzRCUyMnRydWUlMjIlMjBhbGxvd0Z1bGxTY3JlZW4lM0QlMjJ0cnVlJTIyJTNFJTNDJTJGaWZyYW1lJTNF[/vc_raw_html][vc_column_text]“When I started recording my music I made the decision that I would be out. But at the same time I was so conscious of using pronouns and not coming across as too gay or not coming across too assuming,” said MNEK, English singer, songwriter and record producer, speaking at the Sonos Store in London.
Expression Uncensored, which was hosted by Sonos, Index on Censorship and Gay Times Magazine, featured a panel — Julia Farrington, associate art producer at Index, MNEK, Sado Opera, a queer band, and Princess Julia, a DJ and music writer — that discussed queer music and censorship around the world.
Farrington defined the two main types of censorship that she believes exist — classic state-sponsored censorship imposed through laws and government, and self-censorship.
MNEK’s self-censoring in the beginning of his career was the result of societal pressures. While he said that his coming out was in general a positive experience, he also talked about growing up in a British-Nigerian household where the only thing you hear about homosexuality is that it is wrong. After coming out to his parents, MNEK said that while they support his career and the music he produces, they are sometimes still shocked because “it’s not something they’re used to but it’s all about them learning. There’s nothing wrong with learning something new.”
Living in London, Princess Julia said she had never faced state-sponsored censorship. Instead she faced self-censorship as a result of cultural pressures to look and be a certain way. As part of the Blitz Kids of the 1970s, she helped usher in an era of queer people being able to express themselves the way they wanted to.
She believes that “there’s always been avant garde scenes, underground scenes going on. In times of repression or rebellion even, these scenes tend to emerge. Obviously in Russia, that why there are pockets of creative people striving forth and trying to have an identity.”
Hailing from Russia, Sado Opera faced more state-sponsored censorship, which, in general, leads to self-censorship for fear of being targeted.
Sado Opera was originally created to fight the censorship and homophobia in Russia. The group talked about Russia’s homosexual propaganda law, which forbids talking about homosexuality in public. The name of the law was changed to Promoting Untraditional Family Values to hide the homophobia of the government. The government gives laws unassuming names to make it harder for people to discern the malicious intent behind the legislation, Sado Opera explained.
“Other artists might want to express support, but they can’t. The atmosphere makes you double-think what you say” said Sado Opera.
Although MNEK hasn’t experienced the level of state-sponsored censorship that Sado Opera has, he talks about how he hasn’t been to Nigeria in a long time because of unconscious “fears and my own insecurities with going back there and knowing the legislative issues that are there.”
Sado Opera was only able to be more open about their message when they moved to Berlin, where they have sponsorship from a club and have partnered with several organisations that support LGBTQ+ people facing persecution and women who have survived rape.
MNEK said “it’s a bonus when you realise your music is helping someone live their life” and each artist revealed similar sentiments. [/vc_column_text][vc_row_inner][vc_column_inner width=”1/4″][vc_column_text]
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Index encourages an environment in which artists and arts organisations can challenge the status quo, speak out on sensitive issues and tackle taboos.
Index currently runs workshops in the UK, publishes case studies about artistic censorship, and has produced guidance for artists on laws related to artistic freedom in England and Wales.
Learn more about our work defending artistic freedom.[/vc_column_text][/vc_column_inner][/vc_row_inner][vc_single_image image=”101971″ img_size=”full” add_caption=”yes”][vc_single_image image=”101969″ img_size=”full” add_caption=”yes”][/vc_column][/vc_row]
31 Jul 2018 | Artistic Freedom, News and features, United Kingdom
[vc_row][vc_column][vc_gallery interval=”3″ images=”101853,101849″ img_size=”large”][vc_column_text]Dressed in t-shirts and sneakers, a group of teens files into a large, white-walled room reminiscent of a school gymnasium. A stage looms over a motley audience of chairs, its walls plastered with handmade collages of redacted newspaper headlines. It could be any summer programme, but when professional opera singer Abigail Kelly begins leading the students in a song on political dissent and dictatorship, it’s clear that they’ve come together to create something novel, provocative and, above all, youth-led.
This is the English National Opera’s (ENO) Baylis Summer Youth Project, which invites students ages 13-18 from around London to create and perform a new piece of music theatre with the support of professional directors, composers and performers. This summer’s programme challenges participants to think critically about issues of censorship, both modern and historical.
The programme responds to Effigies of Wickedness, a collaboration between ENO and the Gate Theatre. Effigies presented songs censored and banned by the Nazis in the 1930s. The youth project features these songs which were, as assistant composer Kelly rehearsed in one scene, “degenerate music […] especially music written by Jewish composers.”
Previous projects have included Other Voices and Speak Some Truth. Like this year’s project, they responded to ENO productions, helping students break down complex topics related to expression and connect them to their own experiences and the present day. Brainstormed by participants and revised by professionals, the script reflects their discussions on censorship. Participants then split into performance and set design groups to put the performance together in late July.
Three performance group members outlined the creative process:
“First we got quotes on censorship and drew a mind map of our ideas” said Alanis.
“We talked a lot about censorship and self-censorship” said Hugo, adding that he hadn’t really thought about self-censorship and how it affects his own interpersonal interactions before the program.
Another participant, Elizabeth, noted “We were also given a poem explaining the fine line of free speech.”
Kelly mentioned that when students came together in mid-July, programme leaders stimulated their thinking about the intersection of free expression and the arts with poetry from persecuted artists like Palestinian poet Darine Tatour. Index CEO Jodie Ginsberg also spoke to the youth company on the programme’s opening day to stimulate discussion on free expression in the arts.
Diversity and teamwork are at the centre of the programme. Choreography is crowd-sourced from the performance group members and all the costumes and stage decorations were built by the set design team. Across the stage, newspaper collages bear hand-painted slogans like “Answer bad ideas with ideas, not censorship” and “Censorship reflects society’s lack of confidence.” Kelly said “We try to give the participants a sense of ownership over what they’ve created.”
Assistant producer Poppy Harrison sees the program as “An opportunity to discuss things in a different way, […] to show every side of the argument. We’ve been careful not to push [the participants] in any direction.”
ENO Baylis’ outreach began during the school year in communities with limited access to the arts. Students in ENO programmes like Opera Squad were especially encouraged to apply to the summer session. Culminating in a performance in front of friends and family, the programme is an extension of ENO’s mission to inspire students to engage with the opera and pressing issues like censorship in the arts.
With participants like Hugo observing that the programme helped him realise that “Creators are people still censored even in our democratic society,” it would seem that ENO is succeeding.
Index on Censorship works extensively on issues of artistic freedom. Find more information here.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_basic_grid post_type=”post” max_items=”4″ element_width=”6″ grid_id=”vc_gid:1533049608412-e4e98e79-eb23-5″ taxonomies=”1856, 25039, 13149, 1167″][/vc_column][/vc_row]
8 May 2018 | Campaigns -- Featured, Media Freedom, Statements
[vc_row][vc_column][vc_column_text]Index on Censorship is pleased to hear the amendments to the Data Protection Bill are likely not going ahead. One of the amendments, which was not voted on, would have left many newspapers having to pay both sides’ costs in a legal dispute – even if the media outlet won. This amendment had serious consequences for a free press, a cornerstone of democracy[/vc_column_text][vc_column_text]On Wednesday, the UK’s House of Commons will vote on the Data Protection Bill: a bill to regulate the way in which personal information is processed.
It is of course critical that we have robust protections over our personal data. Yet, as is so often the case with new laws, Index on Censorship believes we are in grave danger of ushering in one protection only to eliminate another: in this case, the protections afforded to and by a free press.
This is because members of both the House of Lords and Commons have sought to introduce amendments to this bill that would reintroduce into law restrictions on the press that the current government has rightly said it will not implement, namely forcing any publisher who refuses to sign up to a state-approved regulator to pay the legal costs of any data protection case brought against them, even if they win.
Such a measure would, in effect, invite anyone seeking to prevent exposure in the press – including those cases in which exposure, such as the Windrush scandal or MPs expenses, is in the public interest – to threaten legal action to silence a potential publisher. We urge MPs to reject these amendments.
In earlier proposed amendments, any organisation – including non-profit organisations like Index on Censorship – which refused to sign up to a state-approved regulator would have been liable to pay both sides’ costs. The latest amendments on the question of cost-shifting attempts to close that loophole by exempting small publishers but this just makes a mockery of the entire endeavour: either the rules apply to everyone or no one. The ability to hold power to account and expose the corrupt should not be left to one kind of media organisation.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_icon icon_fontawesome=”fa fa-times” color=”black” background_style=”rounded” size=”xl” align=”right”][/vc_column][vc_column width=”3/4″][vc_column_text]
Index does not believe any media organisation should be forced to sign up to a regulator – especially one that has state approval, no matter how arm’s length.
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Of course, there should be protections for those wronged by the press: but the threat of financial penalties on potential public interest journalism is not the way to do it. Far better is to encourage low-cost, easily accessible and swift redress for all.
Index does not believe any media organisation should be forced to sign up to a regulator – especially one that has state approval, no matter how arm’s length.
For the past five decades, we have monitored state interference in news reporting, from authoritarian Chile in the 1970s to North Korea today. With a history of scrutinising government pressure on media, we were never going to join Impress (currently the only state-approved regulator).
A free press is fundamental to democracy. Investigative and campaigning journalists have exposed scandals that have helped save lives: such as the work done by Index on Censorship’s patron, Sir Harold Evans, on the Thalidomide scandal while editor of the Sunday Times.
More recently, work by journalist Carole Cadwalladr at The Observer broke the Cambridge Analytica story wide open, while Amelia Gentleman’s reporting at The Guardian has driven the story on Windrush.
Without an environment in which such journalists are encouraged to report – without the fear that they might face costly court cases even for reporting stories that are true – who will hold the corrupt to account?
“It is easy to dismiss such concerns as the hysterical whinging of the mainstream media,” said Index on Censorship chief executive Jodie Ginsberg. “That would be a huge mistake. A genuinely free press – one in which both independent investigative journalist outfits and mainstream media organisations can operate – benefits everyone.”
We crush media freedom at our peril. The democratic gains being eroded in Turkey, Russia, Poland and Hungary and elsewhere have all been accompanied by a loss of press freedom: a freedom that is hard won but easily lost.
A version of this statement was first published on the Independent website.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_basic_grid post_type=”post” max_items=”12″ style=”load-more” items_per_page=”4″ element_width=”6″ grid_id=”vc_gid:1526037891828-b7251ca2-5483-4″ taxonomies=”6534″][/vc_column][/vc_row]
