Contents – In bad faith: How religion is being weaponised by the right

02 Oct 23 | Afghanistan, Chile, China, India, Israel, Kuwait, Magazine Contents, Nigeria, Pakistan, Peru, Poland, Russia, Saudi Arabia, Turkey, Uganda, United Arab Emirates, United States, Volume 52.03 Autumn 2023, Yemen

Contents

The Autumn 2023 issue of Index looks at blasphemy laws, and how they are being weaponised by the religious right as a means of imposing intolerance. We wanted to understand the ways in which religion is being used by states as an excuse for censorship, and how this has played out in a global context.

The writers in this issue have examined blasphemy laws in countries all over the world, shining a light on the those who have been left voiceless or have been persecuted in the name of religion. These worrying stories paint a picture of a growing movement amongst the religious right that threatens to suppress those who do not conform to increasingly strict cultures and norms.

Up Front

Faithful foot soldiers, by Jemimah Steinfeld: The religious right is in, our rights to speech out.

The Index, by Mark Frary: From fraught elections in Mali to Russians launching VPNs, this is free expression in focus.

Features

Oiling the wheels of injustice, by Francis Clarke and Mark Frary: Behind a mega-city construction and the roar of Formula 1, Saudi Arabia is driving human rights further into the ground.

Pinochet's ghost still haunts, by Juan Carlos Ramírez Figueroa: The Chilean dictator is long gone, but support lingers on.

The dissident lives on, by Martin Bright: The dissident is not dead, long live the dissident.

No place to hide, by Nik Williams: Transnational repression has no borders in a digital world.

Peer pressure, by Thiện Việt: In China, enforced social rankings aren’t just confined to the realms of Black Mirror.

No country for anxious men, by Laura Silvia Battaglia: A mental health crisis in Yemen has left people locked up with no voice.

Nollywood gets naked, by Tilewa Kazeem: It’s getting hot in Nigeria, as the film scene strips back on what’s deemed inappropriate.

Policing symbolism, by Jimena Ledgard: Peruvian protesters are being met with violence, and not even flower carpets are safe.

Setting the story straight, by Danson Kahyana: Uganda’s new anti-homosexuality law is having an unexpected effect, with literature being ripped apart.

A marriage made in transgression, by Alexandra Domenech: Despite being tortured by security forces and her fiancé thrown in jail, Russian dissident Alexandra Popova is staying put in Moscow.

Out of the oven, into the fire, by Mir Aiyaz: Rohingya Muslims hoping for open arms in India are getting a cold reception.

Special Report: In bad faith - how religion is being weaponised by the right

For the love of God?, by Rebecca L Root: As intolerance rises in many parts of the world, a misplaced profanity can spell out death.

Worshippers of power, by Jemimah Steinfeld: Under the eye of the religious right, Margaret Atwood discusses why a blasphemy accusation holds so much power.

King David he is not, by JP O'Malley: The USA's religious right is playing the Trump Card.

No sex please, we're Hindus, by Salil Tripathi: Oppenheimer isn't just breaking box office records, it's offending Hindu nationalists.

In the name of the father?, by Francis Clarke: A far from extensive list of the countries currently imposing sentences on those who "offend".

A call to harm, by Ayesha Khan: Pakistan has some of the world's harshest blasphemy laws, but punishments come from those outside the law too.

The blasphemy obstacle course, by Mai Al-Nakib: Kuwait's rocky relationship with blasphemy laws is breeding a generation of self-censored authors.

Self-worship is the new religion, by Tara Isabella Burton: A new faith is emerging and it's not necessarily open to different views.

Think of the children, by Katie Dancey-Downs: When Juno Dawson's stories are banned, is it really about the books?

Turkey's zealots still want blood, by Kaya Genç: A foundation related to the controversial and failed translation of The Satanic Verses continues to be attacked.

Sharia Law and disorder, by Kola Alapinni: When the state fails to step in, violent mobs control the punishments for blasphemy in Nigeria.

Loose hair in Tehran, by Farnaz Haeri: The writer describes her first time walking out in Iran without a headscarf.

Handmaid's tale in a holy land, by Jo-Ann Mort: In an Israel that is eroding women's rights, female-free billboards and segregated beaches are just some of the battlegrounds.

Practise what they preach, by Simon Coates: Religious values are an excuse to eradicate LGBTQ+ discussion in the UAE, while tolerance is forgotten.

Poland's papal problem, by Kseniya Tarasevich: One Pope's lack of integrity paints a picture of Poland's infiltrated politics.

Comment

Turkish and European courts failed me, by Nedim Türfent: How one journalist swapped a press card for a "terrorist" badge.

Truth in seduction, by Mark Hollingsworth: A historian struggles to lift the cloak of secrecy on a KGB-orchestrated sex scandal.

First they came for the female journalists, by Zahra Joya: The space for women in Afghanistan is ever-diminishing, and female journalists are crucial.

Speak, debate, challenge, by Ruth Anderson: Index's guiding framework remains the same in a 2023 context.

Culture

Will Paulina ever rest?, by Ariel Dorfman and Jemimah Steinfeld: The Death and the Maiden protagonist fights for justice once more. Plus an exclusive new short story.

Lines of inquiry, by Richard Norton-Taylor: The thorn in intelligence establishment's side explains the growing pressure on whistleblowers

Major new global free expression index sees UK ranking stumble across academic, digital and media freedom

25 Jan 23 | Australia, Austria, Bahrain, Belarus, Belgium, Botswana, Burma, China, Cuba, Czech Republic, Denmark, Equatorial Guinea, Eritrea, Estonia, Ethiopia, Finland, Germany, Greece, Index Index, Ireland, Laos, Latvia, Lithuania, Moldova, Netherlands, News and features, Nicaragua, North Korea, Norway, Portugal, Romania, Russia, Saudi Arabia, South Africa, South Sudan, Swaziland, Switzerland, Syria, Turkmenistan, United Arab Emirates, United States, Yemen

A major new global ranking index tracking the state of free expression published today (Wednesday, 25 January) by Index on Censorship sees the UK ranked as only “partially open” in every key area measured.

In the overall rankings, the UK fell below countries including Australia, Israel, Costa Rica, Chile, Jamaica and Japan. European neighbours such as Austria, Belgium, France, Germany and Denmark also all rank higher than the UK.

The Index Index, developed by Index on Censorship and experts in machine learning and journalism at Liverpool John Moores University (LJMU), uses innovative machine learning techniques to map the free expression landscape across the globe, giving a country-by-country view of the state of free expression across academic, digital and media/press freedoms.

Key findings include:

  • The countries with the highest ranking (“open”) on the overall Index are clustered around western Europe and Australasia - Australia, Austria, Belgium, Costa Rica, Denmark, Estonia, Finland, Germany, Ireland, Latvia, Lithuania, Netherlands, New Zealand, Norway, Portugal, Sweden and Switzerland.

  • The UK and USA join countries such as Botswana, Czechia, Greece, Moldova, Panama, Romania, South Africa and Tunisia ranked as “partially open”.

  • The poorest performing countries across all metrics, ranked as “closed”, are Bahrain, Belarus, Burma/Myanmar, China, Cuba, Equatorial Guinea, Eritrea, Eswatini, Laos, Nicaragua, North Korea, Saudi Arabia, South Sudan, Syria, Turkmenistan, United Arab Emirates and Yemen.

  • Countries such as China, Russia, Saudi Arabia and United Arab Emirates performed poorly in the Index Index but are embedded in key international mechanisms including G20 and the UN Security Council.

Ruth Anderson, Index on Censorship CEO, said:

“The launch of the new Index Index is a landmark moment in how we track freedom of expression in key areas across the world. Index on Censorship and the team at Liverpool John Moores University have developed a rankings system that provides a unique insight into the freedom of expression landscape in every country for which data is available.

“The findings of the pilot project are illuminating, surprising and concerning in equal measure. The United Kingdom ranking may well raise some eyebrows, though is not entirely unexpected. Index on Censorship’s recent work on issues as diverse as Chinese Communist Party influence in the art world through to the chilling effect of the UK Government’s Online Safety Bill all point to backward steps for a country that has long viewed itself as a bastion of freedom of expression.

“On a global scale, the Index Index shines a light once again on those countries such as China, Russia, Saudi Arabia and United Arab Emirates with considerable influence on international bodies and mechanisms - but with barely any protections for freedom of expression across the digital, academic and media spheres.”

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

“With global threats to free expression growing, developing an accurate country-by-country view of threats to academic, digital and media freedom is the first necessary step towards identifying what needs to change. With gaps in current data sets, it is hoped that future ‘Index Index’ rankings will have further country-level data that can be verified and shared with partners and policy-makers.

“As the ‘Index Index’ grows and develops beyond this pilot year, it will not only map threats to free expression but also where we need to focus our efforts to ensure that academics, artists, writers, journalists, campaigners and civil society do not suffer in silence.”

Steve Harrison, LJMU senior lecturer in journalism, said: 

“Journalists need credible and authoritative sources of information to counter the glut of dis-information and downright untruths which we’re being bombarded with these days. The Index Index is one such source, and LJMU is proud to have played our part in developing it.

“We hope it becomes a useful tool for journalists investigating censorship, as well as a learning resource for students. Journalism has been defined as providing information someone, somewhere wants suppressed – the Index Index goes some way to living up to that definition.”

Nominees for the 2022 Freedom of Expression Awards – Arts

16 May 22 | Awards, Cuba, Fellowship, Fellowship 2022, Palestine, Turkey, Yemen

Yemeni artist Thiyazen Al-Alawi uses his craft to shed light on the destructive situation in Yemen through street art campaigns. He hopes to inform the public of what the war has done to his homeland.

First inspired by the Arab Spring in 2011 as a teenager, Thiyazen turned to art as a form of self expression, launching his first street art campaign in 2012 as the war began. As conflict invaded every aspect of Yemeni life, he decided “every artwork is proof of their existence and continuity in life…something that gives people hope.” Thiyazen’s work aims to reflect the ugliest and truest forms of war, and its effect on real people.

Thiyazen’s latest project is a collaboration with British artist Luc Waring titled “Letters from Yemen”, a series of drawings and letters from conversations between the two about art, peace, war, and the horrors Thiyazen has witnessed himself. Inspired by a saying Thiyazen heard in his youth, the walls must do the talking when the newspapers are silent; the compiled writings and portraits raise awareness about the war in Yemen with a sensitivity and humanity only an artist and their medium can produce, eventually gaining traction and attention by the public. Due to the ongoing occupation by the Houthi militia, Thiyazen is risking his own safety as he continues to produce art.  

Thiyazen continues his work on long-term projects with the Swiss Arts Council to spread awareness about the conditions in Yemen. He also contributes to the “Yemen Peace Forum” with the Sana’a Center for Strategic Studies, writing articles and studies like “Art and Youth in Yemen” in the Journal of Transitional Justice of the University of Oxford. “I feel that I must tell the truth no matter what,” Thiyazen explains,” I could sacrifice my life for the truth. And nothing will stop me.”

Moe Moussa is a journalist, podcaster, poet, and the founder of the Gaza Poet Society. He uses various forums and mediums to amplify the voices of Palestinians.

Moe began his career as a translator for international journalists in 2014. He was soon inspired to speak about the situation from his own perspective. Studying English literature in college and growing up around poetry, it was only fitting that Moe decided to use his art to bring the individual lives of people in Gaza to the international audience.

Delving into Palestinian poetry led Moe to connect online with poets all over the world. He was interested in using his skills as a poet and a journalist to share the stories of individual lives with a global audience. After realising the lack of opportunities for poets to share their work in Arabic and English, he created a space to offer an opportunity for young people to speak and find their own voice in 2018 - the Gaza Poet Society. The organisation is supported solely by donations from international poets who believe in Moe’s cause. He is at constant risk of Hamas censorship and at the will of the Gazan government to approve of civilian movement out of the country. 

Watching his family go days without water, power, and freedom of movement, Moe temporarily left Gaza for Istanbul in 2021 to continue his work more effectively. He was awarded the Times Richard Beeston Bursary in 2019 and has plans to complete his fellowship in London in 2022 following delays due to the pandemic. As the creator and host of the podcast “Gaza Guy”, he is focused on amplifying the voices of young Palestinians through poetry and fights for access to education in Gaza. Additionally, Moe has contributed to We Are Not Numbers, a site publishing stories of Palestiniain youth experiencing war. Moe recently released his debut poetry collection titled “Flamingo'' and is working freelance to support the Gaza Poet Society from abroad.

Fatoş İrwen is a Kurdish artist and teacher from Diyarbakır, Turkey working with a variety of materials and techniques.

İrwen regularly uses her art to document her experiences as a Kurdish woman living in Turkey. The performance piece Füg [Fugue, 2012] documented her first experiences in police custody where she was physically and sexually abused. In 2016 İrwen was again taken into custody while boarding a domestic flight. She was charged with “resisting the police, opposition to the law against demonstrations and assemblies, propaganda for a terrorist organisation, belonging to a terrorist organisation” and sentenced to 3 years, 1 month and 15 days in prison. The charges related to a peaceful protest in 2013. 

During her imprisonment, İrwen made 1,500 works of art using materials accessible to her, including hair, tea, food, shoe polish, old textbooks and newspapers, bed sheets, laundry pegs, scarves, and mould and cigarette ashes. Among other projects, the 2019 piece titled “Gülleler'' (Cannonballs) features balls crafted from the hair of inmates participating in a hunger strike. “The hunger strike was like firing a shot to the outside world,” İrwen says. After being released, İrwen collected her art pieces in her first solo exhibition titled Exceptional times which was featured at Depo in Istanbul in 2021. 

Discussing censorship by the Turkish authorities, İrwen says “this issue still continues to be the most painful issue of our lives and for which we pay a heavy price.” She is deeply committed to fighting for freedom of expression and artistic freedom. 

Due to her challenges with Turkish authorities and her identity as a Kurdish woman, İrwen has found that galleries and art spaces are sometimes reluctant to feature her work. Still, she has found success, and her work has been exhibited in Iran, Germany, Austria, Hong Kong, Iceland, France, Mexico, Iran, Morocco, Sweden, and Turkey.

Hamlet Lavastida has been described as a political activist by way of art. Lavastida uses his art to document human rights abuses in Cuba and to criticise Cuban authorities.

Lavastida pushes boundaries of censorship in Cuba and highlights the distinctly Cuban spirit of cultural resistance. His work reconstructs old Cuban political and military propaganda.

Throughout his career, Lavastida has sought to use his art to fight for transparency and freedom of speech in order to fight against the Cuban government. He sees his art as a non-violent tool to fight against the current regime. Lavastida has been involved in various protest movements in Cuba, including the 27N movement which grew out of the protests held on 27 November 2020. The movement works to bring attention to the censorship of artistic expressions in Cuba. 

In June 2021, Lavastida was arrested after returning from a residency at the Künstlerhaus Bethanien in Berlin. He was accused of ‘incitement to commit a crime’ because he suggested that other artists stamp images related to the San Isidro and 27N movements on local currency. Following his arrest, Amnesty International named him as a ‘prisoner of conscience’. Lavastida stayed in prison for 87 days. He was finally released without charges. 

Lavastida has been living in exile in Europe since September 2021. He has been warned that he will be arrested immediately if he ever tries to return to Cuba. Lavastida is deeply concerned by the situation. While has experienced threats and censorship targeting his art throughout his career, he is now experiencing threats against him as an individual. He believes this is part of a greater trend of censorship in Cuba. 

Lavastida plans to continue creating art and speaking up about the situation in Cuba.

Governments using virus as cover to restrict newspapers

12 Jun 20 | Covid 19 and freedom of expression, News and features

Jordan, the UAE, Oman, Morocco, Yemen and Iran. It is the sort of list that Index might compile for any number of attacks on freedom of expression. In this instance they are all countries that have chosen to ban the printing of newspapers and other media during the current Covid-19 crisis, ostensibly to contain the spread of the virus.

This trend of governments using this pandemic to close down newsprint is one of a series of trends that we have identified in compiling Index's mapping project . The map, created in conjunction with Justice for Journalists Foundation, tracks media violations during the coronavirus crisis.

On 17 March, the Jordanian Council of Ministers ordered newspapers to stop producing print editions for two weeks in a bid to stop the spread of the coronavirus. Minister of state for media affairs Amjad Adaileh said at a press conference that the decision was "because they help the transmission of the pandemic". On 21 March, the UAE’s National Media Council announced a temporary ban on printing all newspapers and magazines except for regular subscribers of the publications and large outlets in shopping centres.

The council said the decision was "in line with the precautionary measures taken to contain the spread of the virus. Several people touching the same printed material has the potential to disseminate the virus."

Over the next week, Morocco, the Sultanate of Oman, Yemen and Iran all followed suit, forcing publishers to produce copies online. In April, the Indian state of Maharashtra did things differently; it didn't ban print publications but banned their delivery to people's doors.

In early April, a number of Tunisian publishers suspended printing a number of daily and weekly publications.

Yet there is mounting evidence that there is little or no risk of catching the virus from newspapers, which has led Index to suspect that Covid-19 is being used as an excuse.

The World Health Organisation is reported to have said that the risk of contracting the virus from newsprint is “infinitely small”.

Professor George Lomonossoff, a virologist at the John Innes Centre said in a TV interview: “Newspapers are pretty sterile because of the way they are printed and the process they’ve been through. Traditionally, people have eaten fish and chips out of them for that very reason. So all of the ink and the print makes them actually quite sterile. The chances of that are infinitesimal.”

Former director general of the Indian Council of Medical Research N K Ganguly told the Deccan Herald: “It is more of a perception than reality that COVID-19 virus spreads through newspapers.

The risk of catching the virus from newsprint seems remote but some say the fear of it spreading that way is causing people not to buy print newspapers.

Vincent Peyrègne, CEO of the World Association of News Publishers, (WAN-IFRA) said:

“Today, modern newspaper production is fully automated from end to end. There is hardly human intervention until the last mile distribution point. The ink and solvent used in newspaper printing act as a disinfectant to a large extent and there is no evidence to show that newspapers are carriers of the virus. The rumours that the virus can spread through newspapers is also having a disastrous effect, and newspaper as a source of transmission of the virus is very remote.”

It is perhaps telling that the countries which appear high on various rankings of press freedom have not joined in with banning newsprint.

Peyrègne said these countries “banned print newspapers with the fallacious, or misleading argument that they needed to protect the health of citizens”.

“Any banning of media or placing of restrictions on journalists or media organisations is not only an attack on the freedom to inform and to be informed, but it also carries serious consequences in terms of responsibility for contributing to one of the most serious humanitarian and economic crises we have experienced in the last one hundred years. Nevertheless, many authoritarian countries feel that the crisis is the perfect excuse to crack down on free speech, silence their critics and accelerate repressive measures,” said Peyrègne.

The ban on print editions of newspapers and magazines has contributed to a devastating effect on circulations.

Peyrègne said: “The month of April hit the circulation of the daily press hard, due to confinement, the closure of sales outlets and the shutdown of transport. Generally speaking, readership and subscription surged dramatically during the lockdown. Some segments were obviously more affected than others.”

In the UK, the auditing body ABC has told publishers they no longer have to reveal their print circulations, a move which media trade journal Press Gazette says may mean we “never get the full picture of the impact of coronavirus on newspaper sales”. It says that News UK is the only major publisher to say it will not provide the figures so far.

The crisis has also seen a dramatic acceleration in the move of local newspapers away from print. Many local newspapers rely on advertising from their communities and most of these businesses have been forced to close during the crisis, sucking revenues from the publishers.

News Corp Australia announced at the end of May that 76 of its local and regional newspapers would become digital only while 36 others would cease publication permanently.

In the UK, JPIMedia said it was temporarily stopping the print publication of a dozen of its titles, including the MK Citizen in Milton Keynes and the News Guardian in North Tyneside.

In Egypt, Sawt Al-Azhar, Veto, Al-Youm Al-Gadid and Iskan Misr have all temporarily stopped producing print editions.

It is good to see that some countries, including Morocco, Tunisia and Jordan have reversed their bans but such incidents represent just a small part of wider crackdowns on media freedom that we are witnessing at this time of crisis and which we are reporting on our interactive map.

Newspapers play a vital role in informing communities, particularly at times of crisis, and the combination of misguided bans and the poor financial viability of some titles will be a loss that will be keenly felt.

Read more about Index's mapping media freedom during Covid-19 project.