26 Sep 16 | Europe and Central Asia, Event Reports, Middle East and North Africa, mobile, News and features, Syria, United Kingdom
Journalists Zaina Erhaim and Kate Adie spoke at Write on Kew. (Photos: Sean Gallagher, Ken Lennox)
On 24 September Index on Censorship’s CEO, Jodie Ginsberg, gathered with former BBC chief news correspondent Kate Adie and 2016 Index award-winning journalist Zaina Erhaim in Kew Gardens to discuss journalism in war zones and what it’s like to be a woman reporting from crisis points.
Kate Adie has been a prominent figure in journalism since the 1980s, covering, among other major events, the 1980 London Iranian Embassy siege, the Tiananmen Square protests, the Rwandan Genocide and the war in Sierra Leone. After 14 years as BBC’s chief news correspondent, Adie now works as a freelance journalist, author and presents From Our Own Correspondent on BBC Radio 4.
Zaina Erhaim is a Syrian journalist known for her activism in Aleppo and teaching journalism skills to the men and women in Syria. Erhaim currently works as the Syria project coordinator with the Institute for War and Peace Reporting.
Ginsberg asked Adie and Erhaim what influenced them to become journalists. Erhaim said her mother was the only family members that supported her career choice. The rest of her relatives told her: “Nobody wants to marry a journalist.”
Growing up in a conservative society where the regime censored everything, Erhaim was inspired to study journalism in the UK. After the escalation of the war in Syria, Erhaim knew that she could never abandon her home in Aleppo. She returned to the ravaged city to train journalists, particularly women, to spread the untold stories of those hurt by the war.
Adie discussed how her generation was affected by the aftermath of World War II, with women being incorporated into the workforce during warfare then pushed “back to the kitchen” after the war ended. She admits that growing up she had no expectations for her career, but after visiting East Berlin during the Cold War, she discovered that the rest of the world was not as comfortable as the one she grew up in, fueling her desire to become a journalist.
Exploring the challenges woman face in journalism, Adie said that there were obvious concerns in countries that view women as secondary beings. The fear of being raped or assaulted is always present, she said, adding that there are judicial systems in place that could see her imprison for being a female out alone in public.
Adie emphasised that she does not like to be portrayed as a “woman journalist” but instead a “journalist who happens to be a woman”.
As a woman, Erhaim was not allowed to travel to the “front line” of the Syrian war. However, this allowed her to focus on the unreported stories and train Syrian women and men in journalism. She experienced some difficulty when training men, saying that many refused to look her in the eye because they thought it shameful to be taught by a woman. This was not something she cared about, considering her focus was to get the untold stories to the public.
An audience member later asked whether there are real front lines in warfare anymore, to which both Erhaim and Adie answered no. Adie stated that contemporary front lines are “complete fantasy,” stressing that war is no longer something that stays on the battlefield, but something that divides a village and follows you home.
Parting with advice for aspiring journalists, Erhaim simply stated: “Don’t go to war zones.” Adie reminded the audience that journalism is tough and often doesn’t pay well, but telling people about the world and bringing a story back will be the most rewarding feeling a journalist can accomplish.
More about Zaina Erhaim
Confiscation of Syrian journalist’s passport is appalling
Zaina Erhaim: “I want to give this award to the Syrians who are being terrorised”
#IndexAwards2016: Zaina Erhaim trains Syrian women to report on the war
24 Sept: Women on the front line at Write on Kew
21 Sep 16 | Magazine, mobile, News and features, Volume 45.02 Summer 2016 Extras, Youth Board
In the latest issue of Index on Censorship magazine, The Unnamed: Does anonymity need to be defended?, Index’s contributing editor for Turkey, Kaya Genç, explores anonymous artists in Turkey. In the piece the artists discuss how vital anonymity is in allowing them to complete their more controversial work. The Index on Censorship youth advisory board have taken inspiration from this piece for their latest task, in which they investigate anonymous art around the world.
Keizer by Constantin Eckner
Ants feature in Keizer’s work to sybolise “the forgotten ones, the silenced, the nameless, those marginalised by capitalism”. Image: Keizer
Prior to the January 25 Revolution political street art was anything but common in Egypt, yet it has proliferated in public spaces in the aftermath of the revolution. One of the most productive street artists in Cairo is Keizer, who has gained popularity and notoriety in recent years. Like Banksy and other street artists, he uses the well-known stencil technique to empower his fellow countrymen, and people in general, with his thought-provoking work. He likens people to ants, which are featured in most of his graffiti. Keizer explains on his Facebook account that the ant “symbolises the forgotten ones, the silenced, the nameless, those marginalised by capitalism. They are the working class, the common people, the colony that struggles and sacrifices blindly for the queen ant and her monarchy.”
Asked about the reason for protecting his identity, Keizer said: “I am very concerned over my safety and the repercussions of street art which I’ve already had a taste of, especially with this current regime. Including death threats,
Egyptian street artist Keizer has gained popularity in recent years. Image: Keizer
my twitter account was hacked twice. In the past five years of working on the street I’ve been caught once. I came out of it with a few bumps and bruises, nothing major. I consider myself lucky that I came out one day later.
“You can imagine that being caught here is very different than being caught in Europe. There is no proper procedure and that makes you a victim of the person handling you, and the uncertainty of what comes next. Graffiti is a grey area here, they don’t have any definition or classification for it in the books, so they make it up as they go along, taking you for the fear ride. It’s all under vandalism, so they can make it look small or escalate it to exaggerated levels. For instance, you can be dubbed as a political traitor; it can be considered racketeering; they can glue your name to any political movement unpopular with the people…etc.”
Tall walls, low profiles: Icy and Sot by Layli Foroudi
Icy and Sot describe themselves as stencil artists from Tabriz, Iran. As for their identities, they reveal only that they are brothers, born in 1985 and 1991. Their work is created under pseudonyms in countries around the world, including Iran, USA, Germany, Norway, and China, on legal and illegal walls as well as in galleries.
The anonymous duo, who paint on themes like human rights, censorship, and justice, say that charges against artists in Iran make going public risky.
“Pseudonyms help us to keep a low profile,” the brothers explained in an interview with ArtInfo, “Being arrested in Iran is completely different, because they charge you with crimes that you have not even committed, like Satanism or political crimes.”
Their work often uses striking human faces in black and white to make statements about politics and the environment, to call for peace, and to direct messages at the government of Iran. In 2015, Icy and Sot used their art to protest for freedom of expression in Iran, prompted by the arrest and 18-month imprisonment of Atena Farghadani, an Iranian artist who was detained for publishing a cartoon that satirised the Iranian government as animals. In solidarity, they stenciled a tribute piece depicting Farghadani with a backdrop of protesters on a wall in Brooklyn.
Maeztro Urbano’s fight to change a criminal image by Ian Morse.
In the most recent data, Honduras has the highest homicide rate in the world, with 84 intentional homicides per 100,000 people in 2013. The prominence of drug trafficking and ubiquity of poverty does not improve its reputation.
To some Hondurans, their country’s international image has done nothing but hurt citizen’s attempts to improve daily life in the country’s bustling cities and lively cultural centers. Maeztro Urbano and his friends became the face of an urban street art project to disrupt the atmosphere of crime and reveal another side of the country outside of the headlines.
His projects range from adjusting street signs promoting gender equality to vandalising billboards with corrupt politicians, to wall graffiti showing the effect of violence on children. Working his day shifts in the advertising industry, Maeztro Urbano said he wants to contribute more to his country than proliferating consumerism.
“Change should start within society. With each individual,” El Maestro – as he is also called – told The Creators Project. “To have respect for the lives of others, to respect the right to sexual diversity, to a better education.”
“If we don’t change that as a society and as individuals, we will never be able to change as a country.”
Assailants in Honduras have not been very hospitable to those reporting on crime or those wishing to express their identity. Faced with police harassment and shootings from unknown attackers, Maeztro Urbano chooses to wear a mask while he works to spread messages of hope around the country.
Bleeps.gr: Over a decade of political artivism in Athens by Anna Gumbau.
Bleeps.gr is one of Greece’s most prominent street artists, having painted murals on the streets of Athens for over 10 years. Image: Bleeps.gr
“I have been radically oriented to the political discourse, utilising the public sphere, and I am not afraid or discouraged”, Bleeps.gr, one of the most prominent Greek street artists, told Index.
Bleep.gr has been designing murals, that are mostly critical of the austerity policies imposed to Greece, on the streets of Athens for over 10 years. The Greek social turmoil has had a strong influence on his artwork, not only in his scenes, but even in his methods. “I buy very cheap materials and can’t afford those impressive equipment to create a mural”, he said in an interview with Street Art Europe.
Bleeps.gr chooses to use a pseudonym as an attempt to challenge “the institutionalised perception of the identity”, he told Index. While he is not afraid of the state authorities, he points at art institutions, such as galleries, exhibitions and festivals, who reject and exclude his art. “Most of the censorship I have received has come from other artists, especially the ones related to systemic initiatives, who in the past years have removed all of my works from the city center” he said. Greek political street artists often suffer from the exclusion of art galleries and exhibitors; in the summer of 2013, the CRISIS? WHAT CRISIS? street art festival in Athens, which celebrates the value of street art in the current political happenings, invited 20 artists from different European countries but failed to invite any Greek artists.
Nevertheless, Bleeps.gr stresses the fact that the internet “has provided a virtual field of allocation”, and most of the political street art discourse happens there.
Bleeps.gr highlights the mechanisms of such institutions to “absorb street artists” and make them become part of the art “business”, adding: “the majority of them nowadays serve gentrification policies and turn policies and turn political art into a spectacle for tourist pleasure”.
King of Spades by Sophia Smith-Galer.
When it comes to anonymous artists, the art tends to speak far louder than any speculation into the artist themselves. This anonymous artist in Lebanon is no Arab Banksy that lurks tantalisingly close to the limelight; this artist could quite literally be anyone, and the lack of anybody claiming the piece as their own is revelatory of the grave reality of artists in developing countries that test the patience of despots and tyrants.
Despite its tired and no longer relevant label “Paris of the Middle East”, even the dazzlingly artistic city of Beirut, Lebanon, can’t quite get away with hanging something like this banner, depicting the late Saudi Arabian monarch King Abdullah bin Abdul Aziz as a brutal King of Spades. Shortly after its creation in 2013, the Lebanese state prosecutor ordered an investigation to reveal the source of these posters after complaints from Saudi Ambassador Ali Awad Asiri.
It seems that nobody got caught, and nor do I particularly want to dwell on what would have happened to the artist if they had. But in the Middle East, such a daring artistic expression must be forbidden fruit in a region of gagged political artistry; demonstrated no better than in this mysterious artist who gambled with the assumed impunity of that gentleman with the bloodied scimitar.
Dede Bandaid by Shruti Venkatraman.
One of Dede Bandaid’s most well known works, a missile target painted in the middle of a large car park, a reference to the Gaza conflict in 2014. Image: Dede Bandaid / Wikicommons
Dede Bandaid is an anonymous Israeli artist who has added colour to Tel Aviv’s streets with thought provoking and politically relevant street art. His artistic career began in 2000 during his compulsory military service, and most of his earlier pieces demonstrated a clear anti-establishment sentiment. His more recent works, following the end of his stint in the military, aim to communicate social and political messages. One of his most well known works is a missile target painted in the middle of a large car park, a reference to the Gaza conflict in 2014.
Dede enjoys using public spaces as a canvas as this approach allows freer and more controversial expression, while also being accessible to and viewable by a larger audience especially when the street art is photographed and its images are circulated online. He also makes use of traditional symbols of peace, like the white dove, and frequently incorporates Band-Aids that represent healing and remedy in his artwork, with “Bandaid” being the pseudonym he signs on all his pieces. Over time, Dede’s style has evolved from stencilling to free-hand painting and collage and he interestingly also exhibits certain pieces in galleries across the world.
Cabbage Walker in Kashmir by Niharika Pandit.
A pheran-clad man walks around with a cabbage on a leash in the neighbourhoods of Srinagar, Kashmir. This performance act that he presents is inspired by Chinese artist Han Bing’s “Walking the Cabbage” social intervention work. While Bing chose to walk the cabbage to reflect on the changing values in the Chinese society, where once cabbage was a subsistence food product but is now only embraced by the poor, in Kashmir, this anonymous artist aims to normalise the cabbage walking to show the absurdity of militarisation in the region. Both the performances employ cabbage as an element of satire to expose the irony inherent in what how elitism and militarisation come to be normalised in societies across the world.
The Kashmiri Cabbage Walker writes on his blog, “I as a Kashmiri am willing to recognise walking the cabbage as part of the Kashmiri landscape but I will never accept the check posts, the bunkers, the army camps, the torture centers, the barbed wire, the curfews, the arrests, the toxic environment of conflict and war, as part of the same.”
This performance artist chooses to remain anonymous as it helps in focusing on the message and not the messenger. The Kashmiri Cabbage Walker says that he represents all Kashmiri lives under militarisation thereby revealing the artist’s identity becomes unimportant here.
Cracked pavements in Budapest by Fruzsina Katona.
Anonymous volunteers have joined the satirial political party the Two-Tailed Dog party (MKKP) to paint cracked pavement on the streets of Budapest. Image: Fruzsina Katona
Anonymity does not necessarily mean that one is trying to hide his or her identity. Sometimes the identity of the person is utterly irrelevant. In Budapest, several anonymous volunteers are painting the streets of the city.
The pavement on the streets of the Hungarian capital are falling apart, ruining the image of the city and endangering those who walk on it. Authorities are known to do very little to fix the problem, but something had to be done. Hungary’s satiric political party, the Two-Tailed Dog party (MKKP) called for action and its artsy, anonymous volunteers started colouring the cracked pavement pieces resulting in dozens of cheerful spots across the city.
Unfortunately, there are some who find quarrels in a straw, and the police were called on the ad-hoc artists while they were peacefully decorating the pavement in a touristic neighbourhood. Now the volunteers are being prosecuted with vandalism.
But we still do not know their identity or how many of them are out decorating. All we know is that now we look at colourful patches of pavements while running our errands, instead of the sad and ugly cracked pavements.
31 Aug 16 | Bahrain, Bahrain Letters, Campaigns, Campaigns -- Featured, Press Releases, Statements
Bahraini human rights defender Nabeel Rajab (Photo: The Bahrain Institute for Rights and Democracy)
Playwright David Hare, author Monica Ali, comedian Shazia Mirza, MP Keir Starmer and Nobel laureate Wole Soyinka are among those who have written to Prime Minister Theresa May asking the UK government to call on Bahrain to release a campaigner imprisoned for just tweeting his opinions.
Nabeel Rajab has been in pre-trial detention in Bahrain since July. He has been held largely in solitary confinement, and for the first two weeks after his arrest was held in a filthy police cell that aggravated heart and other health issues.
Rajab was arrested for expressing opinions. He did not advocate or condone violence, nor is he accused of any violent act. Some of the “criminal” communications he is charged with include retweets of his support for organisations like Index on Censorship, which organised the letter. Rajab is also accused of “insulting“ Bahrain’s ally Saudi Arabia. He faces up to 15 years in prison for his “crimes”.
Rajab is a former winner and judge of the Index on Censorship Freedom of Expression Awards and those who signed the letter included former fellow winners and judges.
“Free expression is under severe threat in Bahrain and the region,” said Index on Censorship CEO Jodie Ginsberg. “It is vital that Bahrain’s democratic allies make clear to Bahraini authorities that their behaviour is unacceptable. The US State Department has already publicly called for Nabeel’s release. The British government should do the same.”
September 1, 2016
Dear Prime Minister,
We are writing to ask you to call publicly for the release of Nabeel Rajab. One of the Gulf region’s best-known human rights defenders, Mr Rajab has been in pre-trial detention since July. He has been held largely in solitary confinement, and for the first 15 days after his arrest on 13 June was held in a filthy police cell that aggravated heart and other health issues.
Mr Rajab was arrested simply for expressing opinions. He did not advocate or condone violence, nor is he accused of any violent act. Indeed, some of the “criminal” communications he is charged with include retweets in his support from international civil rights organisations like Index on Censorship. He is also accused of “insulting” Bahrain’s ally Saudi Arabia. He faces up to 15 years in prison for his “crimes”.
Free expression is under severe threat in Bahrain and the region. It is vital that Bahrain’s democratic allies make clear to Bahraini authorities that their behaviour is unacceptable. The US State Department has already publicly called for Nabeel’s release. We ask Britain to do the same.
Yours sincerely,
Index on Censorship former winners and judges
Jodie Ginsberg, CEO, Index on Censorship
Keir Starmer MP
David Hare, playwright
Monica Ali, author
Howard Brenton, playwright
Maureen Freely, author
Shazia Mirza, comedian
Charlie Smith, GreatFire.org, China
Rafael Marques de Morais, journalist, Angola
Serge Bambara, musician, Burkina Faso
Shazad Ahmed, campaigner, Pakistan
Yoav Shamir, director, Israel
Tamas Bodoky, campaigner, Hungary
Sanar Yurdatapan, composer, Turkey
Rakesh Sharma, filmmaker, India
Maria Teresa Ronderos, journalist
Farieha Aziz, campaigner, Pakistan
Safa Al-Ahmed, journalist, Saudi Arabia
Jean Hatzfeld, journalist and author, France
Mahsa Vahdat, artist, Iran
Murad Subay, artist, Yemen
Jimmy Wales, Wikipedia founder
Baroness Helena Kennedy QC, House of Lords
Wole Soyinka, playwright and poet
Zaina Erhaim, journalist, Syria
Mouad Belrhouate, musician, Morocco
For more information, please contact Sean Gallagher at [email protected] or +44 (0)207 963 7262
24 Aug 16 | mobile, News and features, Youth Board
Index recently appointed a new youth advisory board cohort. The eight young students and professionals, from countries including Hungary, Germany, India and the US, will hold their seats on the board until December.
Each month, board members meet online to discuss freedom of expression issues occurring around the world and complete an assignment that grows from that discussion. For their first task the board were asked to write a short bio and take a photo of themselves holding a quote that reflects their belief in free speech.
Sophia Smith-Galer 
I’m half English, half Italian, and was born and raised in London. I have just graduated from Durham University with a degree in Spanish and Arabic and will be studying for a Master’s in broadcast journalism at City University next year.
I have just returned from a trip to New York after winning a multilingual world essay prize which included speaking at the United Nations’ General Assembly. I was in the group of Arabic language winners and our speeches were about tackling climate change, which is one of the UN’s sustainable development goals for 2030. Now that I am embarking on a career in journalism I’m looking forward to continue supporting these goals in my work.
Freedom of expression is particularly important to me as several countries that speak both of the languages I have dedicated years of study to continue to be plagued by tyrants and censors. I’m particularly interested addressing censorship in Latin America and the Middle East, especially with regard to the arts, as I’m also a classical singer and keen art historian.
Shruti Venkatraman
Originally from Mumbai, I am currently a first year undergraduate studying law at the University of Edinburgh. As a law student, I am interested in advocacy in general, but I am particularly interested in advocating for fundamental human rights.
In today’s socio-political context, the phrase “freedom of expression” has gained importance and expanded in its meaning from it’s original intent to prevent minority persecution. Having lived in India and South Africa, I was able to grasp the importance of free speech in the context of regional history, and I learnt how human rights appeals have had local and global impacts and are inherently tied with social development. Index on Censorship’s admirable work to promote and defend freedom of expression highlights how important this cause is in our quest for social progress, justice and equality and how repression of these rights result in societal backwardness.
Niharika Pandit 
I am currently a master’s candidate at the Centre for Gender Studies at SOAS, University of London with South Asia as my focus area of gender research. I became interested in issues of censorship during my undergraduate studies in mass media with a specialisation in journalism from Bombay.
As a journalist and an active social media user in India, I was witness to numerous instances of online abuse, trolling and silencing of women politicians, journalists and activists who voiced opinions on political and social issues. As a response to the barrage of abuse in the online space, otherwise a liberating space to hear diversified opinions, I wrote a piece on Twitter trolls in India and the use of sexist abuse as a tool to muzzle women for Index on Censorship’s Young Writers’ Programme.
Within censorship, I am particularly interested in working on the intersections of social media, gender along with looking at censorship in militarised zones and its growing legitimacy in contemporary political ethos as part of my research.
Layli Foroudi
It was studying literary works from the Soviet period during my undergraduate degree that highlighted the issue of censorship for me initially. Clearly this issue has outlived (and predates) the Soviet Union and is still of pressing concern in Russia today and globally. After graduating, I worked as a journalist on issues of freedom of expression and belief in Iran, and then in Russia at the Moscow Times. By pushing a state-sponsored version of the truth and punishing those at variance with it, these countries and others marginalise people and stifle innovation and creativity.
Freedom of expression and public debate underpin what society consists of and being denied this freedom is being denied the right to participation in society, as Hannah Arendt wrote: the polis is “the organisation of people as it arises out of acting and speaking together”. Historically, many have been denied the right to “act and speak”, based on ethnicity, gender, belief, immigration status, etc, and continue to be. I am interested in encouraging a diversity voices in the public sphere, something I have enjoyed exploring more this past year while undertaking an MPhil in race, ethnicity, and conflict at Trinity College Dublin and as a member of the youth advisory board since January.
Ian Morse 
I’m a student and journalist at Lafayette College in the US, but I have studied in Germany, Turkey and the UK. I really started studying news media when I lived in Turkey 18 months ago, because even then (much more so now) journalists and bloggers had a very tough time gathering and publishing good information. Since then, I’ve been a journalist in Turkey, the UK and Greece. I study history and mathematics-economics, but almost every project I do is focused on news media.
I’ve encountered freedom of expression violations in many fashions, from student pressures against speakers to petty government retaliation to Twitter blocking. There is quite a bit of nuance that is overlooked in many cases, but that nuance is needed to understand where the line needs to be drawn. Words have a lot of power in society – but it is often difficult to get the truth out when lies are louder or gags are stronger. I hope with Index that we can find ways to fix this.
Anna Gumbau
I am a journalist living between Barcelona and Brussels. I am passionate about youth work, having volunteered for five years as member of AEGEE-Europe / European Students’ Forum, including a year as member of its international board. I have taken part in, and often led projects, run by students for other students all over Europe, on topics such as pluralism of media, election observation and media literacy. I am also involved in the field of internet governance, participating in the last two editions of the EuroDIG and joining the Youth Observatory of the Internet Society.
As a young media-maker who grew up listening to the stories of censorship in the times of the Spanish dictatorship, I believe strongly in free speech, a free press and media pluralism as essential pillars for democracy. I am fascinated by the power of words and freedom of expression to empower citizens and stand up to what they believe in. I also envision free media as a crucial element for better informed societies and, in extension, for more responsible individual citizens to participate in the public space.
Constantin Eckner 
I am originally from Germany. I graduated from University of St Andrews with a master’s degree in modern history. Currently, I am a Ph.D. candidate specialising in human rights, asylum policy and the history of migration. Moreover, I have worked as a writer and journalist since I was 17 years old, covering a variety of topics over the years. Longer stays in cities like Budapest and Istanbul have raised my awareness for pressures exerted upon freedom of expression.
In a perfect world journalists, as well as every citizen, would live without fear of state censorship and potentially facing repercussions for the words they write or speak, for the pictures they draw, for the photos they shoot or for music they play.
Freedom of expression and access to information are cornerstones of an enlightened society. Unfortunately, in 2016 the world is still challenged by undemocratic regimes and powers that intend to quash people, which is an oppressive situation that has to change. It is up to us to help those who cannot raise their voice fearlessly.
Fruzsina Katona
I was born and raised in Hungary, although I spent my pre-university years in a small town in eastern Hungary. Today I am a freelance journalist.
I always knew I wanted to be a journalist, since I was always interested in literally everything that surrounded me. The urge to publish became stronger at the age of 17, after I returned from Japan, where I spent a school year. That one year made me realise, that my home country is really far from the image I had of it. And the only way I can fight against corruption, abuses and narrow-mindedness – apart from voting – is to educate and inform the public. I took an internship at Hungary’s leading investigative journalism center, and 2015 Index on Censorship Freedom of Expression award-winner, Atlatszo.hu. I have worked for them as a freelancer ever since, and I enjoy my work pretty much.
I recently received a graduate degree in communication and media studies, and supplemented my “official” studies with training, workshops and conferences across Europe.
In the future I would like to be a post-conflict reporter or a human rights journalist, specialising in freedom of expression and the press.
