In September 2019, London-based photographer Yumna Al-Arashi announced that one of her photographs, showing women in a hammam, had been taken down by Instagram because, according to the platform, it fell foul of the community’s standards on adult...
The Victory is Not an Option exhibition is a great example of how with the right training and preparation controversial art can inspire and reward
Index’s case study on the production of a play covering the Trojan Horse affair
Homegrown is a piece commissioned by the National Youth Theatre (NYT) investigating the motivation behind radicalisation of young Muslims in schools.
Andrea Dunbar’s play Rita Sue and Bob Too was commissioned by Max Stafford-Clarke, then artistic director of Royal Court, in 1982.
Although MTW’s production of The Golden Dragon had received positive reviews in the press, some had expressed concerns that all five of the performers were white, despite the fact they were playing various Asian characters.
The case study of the exhibition Eric Gill: The Body at Ditchling Museum of Arts & Crafts is different from the others in this section. In all the other cases, Index on Censorship got involved because artwork had been removed or cancelled, but in this case we were brought in at the early stage of the museum’s planning of an exhibition that was potentially divisive and controversial.
The Barbican’s publicity material described Exhibit B as: “a human installation that charts the colonial histories of various European countries during the nineteenth and twentieth centuries when scientists formulated pseudo-scientific racial theories that continue to warp perceptions with horrific consequences.”
‘Isis Threaten Sylvania’ is a satirical series of light box tableaux, using the children’s toys ‘Sylvanian Families’.
Julia Farrington explores the development of The Believers Are But Brothers, a play exploring the radicalisation of young men and the legal limits of freedom of expression.