02 Aug 24 | Europe and Central Asia, Germany, News and features, Newsletters, Russia
There is a tendency to see Russia as a huge monolithic entity with a matching ideology. This is the expansionist, imperial Russia that poisons its enemies and kidnaps their children. It is the Russia of the gulags, of Putin, Stalin and the Tsars. But there is another Russia. It is the Russia of the eight brave students who stood in Red Square in 1968 to demonstrate against the invasion of Czechoslovakia and inspired the founders of this magazine. It the Russia of the dissidents of the 1970s and the reformers of the 1990s. It is the Russia of Pussy Riot, of Alexander Livintenko, Boris Nemtsov and Alexei Navalny.
This is the Russia of Vladmir Kara-Murza, the Russian activist, politician, journalist and historian released this week in a prisoner swap with Russian spies held in the West.
Much has been made of the detention and release of American journalist Evan Gershkovich – and rightly so. The Wall Street Journal reporter has become an important symbol of the fundamental values of a free media. It is to his eternal credit that his final request before release was an interview with Vladimir Putin. We also welcome the release of Alsu Kurmasheva, a Radio Free Europe/Radio Liberty journalist from the Tatar/Bashkir service.
But it is Vladimir Kara-Murza who most fully represents the dissident spirit of Russia that runs counter to the authoritarian tendency that has dominated the country for so much of its recent history.
He is often described simply as one of the fiercest opponents of Putin, But Kara-Murza is so much more than that. He is above all the keeper of the flame of the Russian dissident tradition. He, more than anyone, understands the power of this alternative version of Russian identity.
Supporters of Index interested in the subject should watch the four-part documentary series, They Chose Freedom, directed and presented by Kara-Murza in 2005. The film is edited by his wife Evgenia, who has led the campaign for his release. Two decades later it is still acts as a powerful reminder of the courage of those who spoke out against the Soviet system. It examines the roots of the dissident movement in the weekly poetry readings held in Mayakovsky Square in the 1950s. It includes interviews with the key players in the movement, including Vladminir Bukovsky, Anatoly Sharnsky and three of the participants of the Red Square demonstration of 1968, Pavel Litvinov, Natalya Gorbanevskaya and and Viktor Fainberg.
In April 2023, shortly before he was sentenced to 25 years for charges linked to his opposition to the war in Ukraine, Kara-Murza said: “I know the that the day will come when the darkness engulfing our country will clear. Our society will open its eyes and shudder when it realises what crimes were committed in its name.”.
The release comes after reports earlier this year that Kara-Murza had been transferred to a harsher prison regime and that his health was deteriorating. An image shared on Telegram (see above) by fellow dissident Ilya Yashin, also released in the prisoner swap, show Kara-Murza this morning in Germany where they will hold a press conference later today. We await news that he and family will finally be able to welcome him back to Britain, which they have made their home.
01 Aug 24 | Europe and Central Asia, News and features, Russia, Statements
Index on Censorship welcomes the news that Vladimir Kara-Murza, a journalist, author, filmmaker and fierce Putin critic, and Wall Street Journal reporter Evan Gershkovich have today been released as part of a multi-country prisoner exchange including Russia and the USA.
The prisoner swap, one of the largest ever, has taken place in Ankara under the auspices of the Turkish National Intelligence Agency and involves 26 people held in Russia, Belarus, the USA, Germany, Slovenia, Norway and Poland. The exchange follows private discussions between the intelligence services of Russia and the United States and is the largest such exchange in decades.
Index has long championed the causes of Kara-Murza and Gershkovich.
Kara-Murza, a British citizen and father of three, had been a tireless pro-democracy campaigner and a champion of legislation that has provided for human rights violators and corrupt officials around the world to be subject to asset freezes and visa bans (so-called Magnitsky Acts). Kara-Murza was sentenced to 25 years in prison in 2022; he was awarded the Václav Havel Human Rights Prize the same year.
In mid-July, WSJ reporter Gershkovich was sentenced to 16 years in a high-security penal colony on espionage charges. He was arrested in March 2023 while on a reporting trip in the city of Yekaterinburg 1,600 km east of Moscow with prosecutors arguing that he worked for the US Central Intelligence Agency, claims which the journalist, his employer and the US government denied.
Jessica Ní Mhainín, Head of Policy and Campaigns at Index on Censorship, said, “In most of Europe, Kara-Murza is rightly lauded for his work in defence of human rights and was awarded the Václav Havel Human Rights Prize in 2022. During his time in detention, he was held in solitary confinement and has had access to medical treatment restricted despite suffering from polyneuropathy, a condition affecting his central nervous system, brought on by two failed poisonings by FSB agents in 2015 and 2017.”
Index on Censorship CEO Jemimah Steinfeld said: “Evan Gershkovich’s trial was held in secret and his conviction is widely regarded as politically motivated. Index will continue to stand up for press freedom both in Russia and in other countries worldwide. His release has come not a moment too soon but we will continue to fight for the release of reporters unjustly held in countries around the globe for doing their jobs.”
Sasha Skochilenko, who was sentenced to a seven-year jail term for distributing anti-war leaflets in a Russian grocery store, and Alsu Kurmasheva, a Russian-American reporter for Radio Free Europe/Radio Liberty who was seized by Russian authorities on a trip to visit her mother and has been in prison since October, are among those have who also been released. Former US Marine Paul Whelan, who was sentenced to 16 years in prison in 2020 on espionage charges, has also been freed.
Vadim Krasikov, a colonel in Russia’s FSB intelligence service, who has been serving a life sentence in a German jail since 2019 for the murder in broad daylight in a Berlin park of dissident Zelimkhan Khangoshvili, is also part of the exchange.
For more information, please contact policy and campaigns manager Jessica Ní Mhainín on [email protected] or acting editor Sally Gimson on 07890 403338 or [email protected]
22 Jul 24 | Germany, News and features, Ukraine
The Babyn Yar massacre is one of the bloodiest atrocities in Ukraine’s dark history. In late September 1941, 33,771 Jewish residents of Kyiv were herded by the Nazis into a ravine (“Babi Yar” in Russian, “Babyn Yar” in Ukrainian) on the outskirts of the city. Over a two-day period, the victims were shot and buried in mass graves as part of what became known as “the Holocaust of Bullets”.
Oleg Chorny’s small-budget feature documentary From Babi Yar to Freedom tells the story of the massacre through the lens of Soviet defector and writer Anatoly Kuznetsov, who first revealed the full scale of the atrocity to the world when he escaped to the UK in 1969. The film was completed in 2017, five years before Russia’s full-scale invasion of Ukraine, and is an extraordinary tribute to Kuznetsov’s determination to tell the truth in the face of a wall of Soviet censorship and disinformation.
Chorny’s documentary deserves a wide international audience, but in an irony that would not be lost on the dissidents of the 1960s, no one can see it because of a rights dispute over the central archive interview in the film owned by the giant US TV corporation CBS.
In July 1969, shortly after Kuznetsov defected, he gave a lengthy interview to the veteran CBS news journalist Morley Safer in which he opened up about his decision to escape the Soviet Union. Kuznetsov went to London, accompanied by a KGB minder, to research the time Lenin had spent there in 1903, and secretly took with him film containing the text of the full version of his book Babi Yar: A Document in the Form of a Novel, stitched into his clothing. The book is based on eyewitness accounts of the massacre and Kuznetsov’s own boyhood diary.
Now, Chorny has been told that nine minutes of CBS footage from the Kuznetsov interview (freely available on YouTube) will cost $80,000 – more than the budget of the movie. Wazee Digital, a Colorado-based asset management company which negotiates on behalf of CBS, has refused to budge on this fee.
Chorny told Index that the fate of the film and the fate of Kuznetsov were intertwined in his mind. “I’m sorry, you must understand that the story with this film is a sad story for me because it was not released… But if something happened and this movie was released, I think it would be so important, because nothing has changed from these times with the KGB. You can call it the FSB, but it does not matter.”
In the documentary, Chorny follows Ukrainian writer Stanislav Tsalyk as he tracks down traces of Kuznetsov – who died in 1979 – in Kyiv and then in London. Tsalyk travels to the UK with Kuznetsov’s son Olexiy, who remained in the Soviet Union. In one of the most moving scenes, Olexiy stands next to his father’s unmarked grave in Highgate Cemetery. Olexiy, too, has now died without seeing the film released.
The story of Kuznetsov is a classic Cold War tale, but it is much more than that. It is a story about how stories themselves are told, how they can be misrepresented, and how they are suppressed.
Kuznetsov’s Babi Yar has had many lives and suffered multiple rounds of censorship. When it was first published in the Soviet Union in 1966, the censor made cuts that underplayed the suffering of the Jews. In the Soviet narrative, Babi Yar was known as a Nazi act of horror against Soviet citizens. The Jews of Kyiv were thus doubly erased: once literally and then historically. This was not all that was removed from the original text: references to cannibalism during the Ukrainian famine, the Holodomor, where millions died as a direct result of Stalin’s policies, and parallels between fascism and communism were all excised. Anything, in fact, that showed the Soviets as less than heroic.
The whole uncensored version is recognised as a singular masterpiece. The first chapter, Ashes, begins: “This book contains nothing but the truth.” The typefaces of the book reveal its troubled publication history, with the original text in plain type, previously censored passages rendered in bold, and later additions from Kuznetsov in square brackets.
Oddly, this adds to the experience of reading Babi Yar. Its fragmented text suits the battered and broken subject matter.
Take the following passage about Dina Pronicheva, a 30-year-old puppet-theatre actor and survivor of the massacre who later gave evidence against the Nazis. “Dina went across the hillock and sat down. Everybody there was silent, crazed with fright. She was afraid to look up: somebody might recognise her, quite by chance, and cry out: ‘She’s a dirty Jewess!’ These people would stop at nothing to save their own skins. For that reason she tried not to look at anybody, and nobody looked at her. Only an old woman sitting next to her in a fluffy knitted scarf complained quietly to Dina that she had been seeing her daughter-in-law off and had got caught… But she herself was a Ukrainian, she was no Jewess, and whoever thought it would come to this? They had all been seeing people off.”
The censored words in bold give the episode a very different meaning and emotional impact.
When Babi Yar was republished in a Vintage Classics edition in the UK last year under the title Babi Yar: The Story of Ukraine’s Holocaust, it didn’t receive the attention it deserved.
When I talked to Chorny in Kyiv over Zoom, I suggested that this latest episode in the story of the massacre is part of a pattern. I said: “Even if you go back to the origins of the story… This is a story about silence. It’s a story about censorship. It’s a story about not being able to tell the story and so…”
Chorny stopped me and said my interpretation did not go far enough: “Excuse me, this is a story of a totalitarian system which is the same as the Nazi totalitarian system. And this is a story of resistance – Anatoly Kuznetsov’s personal resistance, I mean: to escape to publish the full version in the West.”
Josephine Burton of Dash Arts has been pushing for the release of Chorny’s film since 2021, when her organisation began work on Songs of Babyn Yar, a music and theatre project that used Kuznetsov’s text in the production. Burton, who also championed the cause of the Crimean Tatars in Dash Arts’ 2022 performance Crimea 5am, told Index: “Oleg Chorny’s documentary needs to be seen. It tells a remarkable story, a vital contribution to the history of Ukraine and the Holocaust. This film should not be silenced.”
Chorny has also gained the support of the Koffler Centre in Toronto, which ran a series of events about the Babyn Yar massacre last year, including a Zoom discussion with Chorny and his team.
In the meantime, Chorny describes life in Kyiv: “We are living some kind of surrealistic reality. This is mixed with news from the front from our colleagues and friends. A lot of losses. Especially in the last year, we buried a lot of friends and some colleagues who disappeared on the front line.”
But the director has kept himself busy. Chorny has made a short film, Kyiv in the Days of War, about the aftermath of the Russian attacks in 2022, and three 15-minute films in a series about creativity and the Ukraine conflict: Art in the Land of War. In one of these, If I Stop It Means They Win, sculptor and graphic artist Oleksandr Smyrnov says: “I think that if they prevent me from doing what I’m good at and what I want to do, then they have won. That’s why I’ll keep doing it.”
Two years ago, an appeal to raise money for a headstone for Kuznetsov in Highgate cemetery raised more than $1,300. In another twist in the story, his surviving daughter has not given her permission for it to be erected. The best memorial would be the release of From Babi Yar to Freedom. [CBS was approached for a comment on this story.]
19 Jul 24 | China, Hong Kong, News and features, Newsletters, Russia
Has China entered a “garbage time of history”? Some netizens think so. According to a Guardian article from yesterday, the term is trending, coined to reflect a generation who feel squeezed by rising costs and other social burdens. Those behind the term even created a “2024 misery ranking grand slam”, which tallies up the number of misery points that a person might have earned this year (one star for unemployment, two stars for a mortgage, another for hoarding the expensive liquor Moutai and so on). I always felt bonded to many of my Chinese friends by what I’d say was a shared sense of humour – the dry, acerbic sort that Brits are famed for, the one that is still able to chortle no matter how bad the news. It’s very much on display in this story.
The censors though aren’t laughing. They’re scrubbing. Pity these people who take away the lemonade from those with lemons.
Two other stories emerged from the region this week that, while not necessarily “garbage”, were bad. The first concerned a rumour that Xi Jinping had a stroke (side note: Xi is 71, his mother is 97, and his father died aged 88). The rumour spread across Chinese social media and was picked up on X by the activist Jennifer Zeng, who has a huge following. It was later debunked, including by the Reuters Fact Check team here. In the interim, China’s censors blocked posts about it.
The story was troubling, and not just the censorship angle. There are perils to getting things wrong when you are meant to be on the side fighting for freedoms, a central one being that it’s an own goal, a way to feed into the autocrats’ line that it is others, not themselves, who can’t be trusted.
Another troubling story this week came out of Hong Kong. On Wednesday Wall Street Journal reporter Selina Cheng was laid off. The Post said it was part of a restructuring. Cheng believes it was linked to her taking up the position of chair at the Hong Kong Journalists Association, a union that campaigns for media freedom. She said she was pressed by her employer not to stand for election for chair, being told the role would be “incompatible with my employment at the Wall Street Journal”. The WSJ have not commented on her firing. But a pattern appears to be emerging of major international outlets being spooked by association with the HKJA. According to an article from the China Media Project, three recently elected members of the HKJA board, alongside an outgoing leader of the Foreign Correspondents’ Club of China, said they faced similar pressures.
“All asked to remain anonymous, fearing reprisals from their employers, but confirmed that the Journal is not alone: the biggest names in Hong Kong and China’s foreign press have been pressuring their employees to stand back and stay quiet, or face the repercussions. For the territory’s embattled journalists, defending the free press has become a fight on two fronts: against both an increasingly authoritarian government and their own employers, based in the West and nominally committed to liberal principles,” the article said.
Meanwhile Tom Grundy from Hong Kong Free Press, one of the few independent media to still operate from Hong Kong, told Index that the news added to the sense of vulnerability felt by journalists there. He said:
“When a giant international news organisation fails to support the city’s only independent media union and its officers, they further erode press freedom by closing precious space. It sends a terrible signal, and makes their own remaining staff more vulnerable in the long run. Especially locals.”
The Beijing supporting media of course is loving it. The Global Times tabloid was calling the press union “a malignant tumour that harms the city’s safety and security”.
Finally on the note of the WSJ, we have just heard news that the reporter Evan Gershkovich has been sentenced to 16 years in a Russian prison on espionage charges after he was arrested last March while on a reporting trip in the city of Yekaterinburg 1,600 km east of Moscow. That this news was predicable doesn’t make it any less disturbing. We will continue to fight for his release.
