Each week, Index on Censorship’s Mapping Media Freedom project verifies threats, violations and limitations faced by the media throughout the European Union and neighbouring countries. Here are just five reports from 23-29 February that give us cause for concern.
— CoE Media Freedom (@CoEMediaFreedom) March 2, 2016
The physical safety of journalists in Russia remains a major concern. Sergey Vinokurov, a correspondent for the weekly politics and news magazine Sobesednik, was assaulted outside the publication’s offices in Moscow on 25 February at around 9.20pm. As Vinokurov left for home, a perpetrator hit the journalist multiple times in the body and face, just ten meters from the entrance. The assailant, who appeared drunk, shouted vulgarities and said: “you’re getting this for your articles”. Vinokurov tried to dodge the punches and managed to make his way back to the entrance to the building’s entrance, but the assailant followed and continued his assault.
Security guards and other journalists were able to restrain the perpetrator before police arrived and brought the assailant to a detention center at the Tverskoi police department. Police have opened an investigation. The attacker was a 37-year-old Anton M, who lives next to the editorial office.
2. France: Defense minister launches investigation into Le Monde
The French Minister of Defence, Jean-Yve Le Drian, launched an investigation into French newspaper Le Monde on 24 February for “compromising the secrecy of national defence” following the publication of an article on the on the presence of French special forces in Libya. The article reported: “Highly targeted pinpoint strikes, prepared by discreet or covert actions: in Libya, this is the course of action taken by France against the threat of the Islamic State.”
Under French law, compromising the secrecy of national defence is punishable by a €45,000 fine and a 3-year prison sentence. The Le Monde claims that “specialised bloggers” had spotted the presence of French security forces in eastern Libya since mid-February.
3. Greece: Police block TV crew access to refugee camp operation
It’s been almost a year since phrases “migrant crisis” and “refugee crisis” started making headlines, and in that time we’ve seen many European governments making it increasingly difficult for asylum seekers to cross into their territorial boundaries. Most recently, Macedonia tightened its border control, leaving about 4,000 people stranded in Greece. The Greek government responded by removing refugees from a camp in the border town of Idomeni, putting them on buses bound for Athens, where they were to be temporarily housed in relocation camps.
While trying to cover events at the border, a TV crew for private broadcaster Alpha Channel was denied access. Greek police asked journalist Aphroditi Spilioti, a cameraman and a sound engineer to leave the camp “safety reasons”. The TV crew then moved outside the perimeter of the camp, where they could still observe the ongoing police operation, but again they were asked by police to move — this time 2 km away — for “safety reasons”.
When the journalist and the crew refused to do so, they were asked to provide their ID cards for verification and follow the police vehicle to the station. The police also reportedly told them not to drive back to the refugee camp.
4. Spain: Politician repeatedly asks journalist to reveal sources
Former president of the province of Valencia, Francisco Camps, tried to convince radio journalist for Cadena SER, Miguel Ángel Campos, to reveal his source when the journalist called to ask the politician about alleged corruption on 29 February.
Camps, who was filming the phone conversation, told the journalist: “I have to know who I need to talk to in order to not have a big mess tomorrow. […] I am asking you a favour, please, tell me what source told you that I was collecting money. I need to talk to that person and to defend myself.”
The journalist still refused to reveal the identity of his source. The politician continued to deny the allegations and asked to involve the journalist’s boss: “Please call him right now and tell him that you talked to me. And please tell him not to talk or to do something because all of this is a lie. Please, this is really important, talk to your boss, and if he would like to talk to me I am available.”
The independent Turkish broadcaster IMC TV was pulled off the air by one of Turkey’s largest broadcasters, Turksat, on 26 February following terror charges. Ankara prosecutor requested IMC be taken down because of allegations that the channel is “spreading terrorist propaganda” for the Kurdistan Workers’ Party (PKK), which Turkey has designated a terrorist organisation.
The channel was taken off the air during a live interview with Can Dundar and Erdem Gul, two prominent journalists who were freed pending trial that same day after spending 92 days in prison. Index on Censorship has condemned the decision. Senior Advocacy Officer Melody Patry said: “Turkey must halt its crackdown on media outlets and ensure citizens have access to diverse information and viewpoints, including those that differ from the government’s political line.”
Searching for “dissident artists” online, you’d be forgiven for thinking they are a purely Chinese or Russian phenomenon. But for every Ai Weiwei or Pussy Riot, there are scores of artists and musicians around the world whose persecution does not make the Six O’Clock News.
Serge Bambara — aka Smockey, meaning “se moquer”, or “to mock” — is a hip-hop artist and activist little known outside his home country of Burkina Faso, but who has had a marked impact on political and social developments there.
He combines rap with traditional Burkinabé music and often humour to “spread truth”. “Knowledge is important, and I write as a way of presenting it to the people,” he told Index on Censorship.
Index on Censorship is proud to name Smockey as the recipient of the Music in Exile Fund Fellowship. As the beneficiary, he will perform live in London, as well as receive training and opportunities to connect with other free speech heroes around the world.
“Serge Bambara’s overtly political music has made him a target for entrenched interests in Burkina Faso,” said Jodie Ginsberg, CEO of Index on Censorship. “Throughout his career, he has used his talents to fight for racial equality and battle corruption. We are delighted to have him as the inaugural Music in Exile fellow.”
In September 2015, after two years of serious activism and over 15 years of writing music about the problems in his country, forces loyal to the recently ousted president Blaise Compaoré — obviously unhappy with the truths he was spreading — bombed Smockey’s recording studio, the acclaimed Studio Abazon. The attack was an apparent attempt on his life as revenge for the role his music and activism played in the deposition of Compaoré, according to Smockey.
Attacks on artistic freedom — particularly musicians — almost doubled in 2015. But to understand why Smockey was targeted in such a violent and specific manner, we need to go back to his roots.
Smockey first became interested in hip-hop music through listening to American artists like Public Enemy, Afrika Bambaataa and LL Cool J. He began rapping in Burkina Faso in 1988, before moving to France in 1991 to study. While there, he signed to the record label EMI, but it wasn’t until he returned to his country of birth on a holiday in 1999 that his music took on the political dimension it is famed for today.
“It was around the time of the murder of journalist Norbert Zongo, who was assassinated following investigations into the activist by president Blaise Compaoré,” he said. “Student demonstrators were being beaten by police. It was very disturbing to me.”
Smockey soon packed up his computer and keyboard in France and moved back home to Burkina Faso in 2001. “Seeing the things going on in my country, I had to do something,” he said. “At the time, I didn’t know exactly what, but I knew it would involve music.”
He understands fully the responsibility that often comes with being in the spotlight in a country burdened by so many difficulties. “Not everyone is lucky enough to have a microphone in front of them, so if you have the chance to talk, you have to say something important,” Smockey said. This is the thinking behind subversive songs like Votez Pour Moi (about democracy), Tomber la Lame (FGM) and A Qui Profite le Crime (government corruption).
In the summer of 2013, Smockey co-founded Le Balai Citoyen, or The Citizen’s Broom, with reggae artist Sams’K Le Jah. The grassroots movement was set up in opposition to Compaoré, aiming to bring positive change to Burkina Faso. “As our problems were political, our solutions had to be political also,” Smockey explained.
As for the name and ethos of the movement, he said: “With just one twig, you won’t get much done, but when you bind them together and make a broom you can clean a lot of shit. This is why we always say ‘our number is our strength’ because it is impossible to be defeated if we are united.”
Le Balai Citoyen played a big part in the ousting of Compaoré. It urged the people of Burkina Faso to organise and take to the streets. Following mass demonstrations in late 2014, Compaoré resigned on 31 October after 27 years in power. A transition government, led by the military, was established, which Smockey was broadly supportive of. However, a military coup saw General Gilbert Diendéré — leader of the Regiment of Presidential Security (RSP), Compaoré’s former secret service — seize power in September 2015.
Le Balai Citoyen staged a march to the presidential palace in protest of the coup. Smockey, along with fellow demonstrators, were shot at and then chased through the streets of Ouagadougou by RSP. Although Smockey managed to escape, many others were beaten and arrested.
“We knew we were lucky, but we weren’t able to go home,” he said. On 17 September he went into hiding. Asked whether he is an artist or an activist first, Smockey told Index on Censorship that depends on what he is doing at any one time. His fans tend not to draw a distinction, he explained. Nor did Diendéré, it would seem, whose forces rocket-bombed Smockey’s studio on the same day he went underground.
Studio Abazon was a hub for young and aspiring musicians. “They attacked it because they knew it was an important landmark to the resistance,” Smockey explained. “Their thinking was that you have to kill the leaders, everyone else will go away.”
Prior to the attack, the rapper had received death threats, and although he had the opportunity to flee to Holland, he stayed put. “You can’t talk about strength in numbers if on the first sign of difficulty you are going to run away,” he said.
Diendéré’s rule didn’t last long as he failed to consolidate his authority and came under pressure from international leaders and the army to step down. Smockey came out of hiding and fresh elections were held in Burkina Faso.
“The current government, although it’s not perfect, was chosen by the people so it’s legitimate,” explains Smockey. “Our job is now to be the watchers and guards of democracy.”
The rapper is optimistic about the future of his country and proud of the role his music and activism have played in developments so far. With the progress made, he now plans to put more focus on his music. “I’ve started rebuilding the studio, and have already begun recording artists again, but much more work needs to be done,” he said.
He has plans for a tour of the country and wants to set up a hip-hop festival. “It will create a kind of bridge between rappers, old school and new,” he said. “We’re going to do one big concert every month as a way of keeping people connected.”
When Index on Censorship launched the Music in Exile Fund in October 2015 along with the producers of the award-winning documentary They Will Have To Kill Us First, Johanna Schwartz, director of the film, said: “When faced with censorship, musicians across the world need our support.”
In whatever small way, the Music in Exile Fund will help see Smockey’s plans become reality.
The Music In Exile Fund was launched to help support musicians facing censorship around the world. The fund contributes to Index on Censorship’s year-long Freedom of Expression Awards Fellowship programme, helping musicians to build their international profile and to create, perform and share their work in a safe environment. You can donate here.
Freedom of expression campaigners Index on Censorship and the producers of award-winning documentary They Will Have To Kill Us First are pleased to announce the Burkinabe rapper and producer Serge Martin Bambara (aka Smockey) as the recipient of the inaugural Music in Exile Fund Fellowship.
An icon of democracy in Burkina Faso, Smockey is an artist, music producer and political activist who fuses hip-hop with traditional local sounds and satire. His acclaimed Studio Abazon was fire-bombed in late 2015 in retaliation for his role in the ending of the 27-year tenure of former President Blaise Compaoré.
As winner, Smockey will perform live in London as well as participate in the Index on Censorship Freedom of Expression Awards fellowship week in April 2016 – an intensive week of coaching and networking for global champions against censorship. With high level training in advocacy, fundraising and digital security, Index supports these activists to stand up to the pressure of censorship and continue their battle for free expression around the world.
“Serge Bambara’s overtly political music has not only made him an extremely popular figure in his own country, Burkina Faso, but also a target for entrenched interests. Throughout his career he has used his talents to battle corruption and demand a democratic future for Burkina Faso. Proof of the power of art and music, we are delighted to have him as the inaugural Music in Exile fellow,” said Jodie Ginsberg, CEO, Index on Censorship.
“Not everyone is lucky enough to have a microphone in front of them, so if you have the chance to talk, you have to say something important and try and change humanity,” Serge Bambara said. Smockey’s work tackles tough political and social subjects. His song Votez pour moi lampoons the lack of democracy in Burkina Faso, A qui profite le crime calls out government corruption and Tomber la lame tackles female genital mutilation.
In September 2015, Smockey’s studio was bombed during a military coup by forces loyal to the former president – an act designed to intimidate him and Burkina’s youth. After seven days of international pressure, the junta returned power to the provisional government but Studio Abazon, a former hub for young and aspiring musicians in Burkina Faso, was damaged beyond repair.
Index on Censorship stands behind Smockey and hopes that the inaugural Music in Exile Fellowship can help him continue to encourage and enthuse young Burkinabes with his music.
Donations to the Music in Exile Fund can be made HERE.
A full profile about Smockey and his music can be read HERE.
For more information please contact: David Heinemann on 0207 260 2660 or [email protected]
The Music in Exile Fund was launched in October 2015 by freedom of expression campaigners Index on Censorship and the producers of award-winning documentary They Will Have To Kill Us First to help support musicians facing censorship in their home countries.
The fund contributes to Index on Censorship’s year-long Freedom of Expression Awards Fellowship programme, helping musicians to build international profile and to create, perform and share their work in a safe environment.
The fund operates under the banner of Index’s Freedom of Expression Awards, which take place in April. This year there will be a specific music category. The funds raised will support a musician or group through a year-long mentorship scheme helping them to tackle and overcome free expression challenges for them and their audiences. Legal support, career development, training in advocacy and fundraising, networking and digital security are all part of this mentorship scheme.
The film, called “essential viewing” (Dazed & Confused) and “rare and inspiring” (The Times) follows musicians in Mali after its capture by jihadist militants in 2012. Music, one of the country’s most important forms of communication, disappeared overnight. Radio stations were destroyed, instruments burned and musicians faced torture, even death. But rather than lay down their instruments, Mali’s musicians fought back. The film is currently premiering in the United States. Details about screenings can be found HERE.
Index on Censorship condemns Türksat’s decision to drop independent broadcaster IMC TV’s signal. It must reverse itself and allow unfettered access to information.
“This is another case of terror charges being used to silence media in Turkey”, said Index Senior Advocacy Officer Melody Patry. “Turkey must halt its crackdown on media outlets and ensure citizens have access to diverse information and viewpoints, including those that differ from the government’s political line.”
Privately-owned channel IMC TV, was pulled of the air by one of Turkey’s largest broadcasters, state-controlled Türksat Satellite Communication and Cable TV Operation, Reuters reported.
IMC TV’s signal was dropped by Turksat after an Ankara prosecutor requested IMC be taken down because of allegations that the channel is “spreading terrorist propaganda” for the Kurdistan Workers’ Party (PKK), which Turkey has designated a terrorist organisation.
The channel was taken off air during a live interview with Can Dündar and Erdem Gül, two prominent journalists who were freed pending trial that same day after spending 92 days in prison.
IMC TV is known for being critical of the policies of the ruling Justice and Development Party (AKP), and had recently covered clashes between Turkish security forces and Kurdish separatists in the southeast region of the country.
