30 Sep 2015 | mobile, News and features, United Kingdom
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Battle of Ideas 2015
A weekend of thought-provoking public debate taking place on 17 & 18 October at the Barbican Centre. Join the main debates or satellite events.
5 Oct
Does free expression have its limits?
Join Index on Censorship magazine editor Rachael Jolley for a Battle of Ideas satellite event to debate the limits of free expression. With Dr Wendy Earle, Anshuman Mondal, Kunle Olulode and Tom Slater.
When: Monday 5th October, 7-8:30pm
Where: Nunnery Gallery, Bow Arts Trust, 181 Bow Rd, London E3 2SJ
Tickets: £4.89 through Eventbrite
• Full details
17 Oct
Artistic expression: where should we draw the line?
Join Manick Govinda, Index on Censorship CEO Jodie Ginsberg, Cressida Brown, Nadia Latif, Nikola Matisic with chair Claire Fox at the Battle of Ideas festival.
When: 17 October, 4-5:15pm
Where: Cinema 2, Barbican, London
Tickets: Available from the Battle of Ideas
• Full details |
It’s just over a year ago since a mob of anti-racist activists closed down South African theatre director Brett Bailey’s tableaux vivants work Exhibit B in London. The work had actors depicting the horrors of historical slavery, and colonial racism as museum exhibits, echoing the human zoo exhibits of 19th century, which still took place right up until the 1950s.
The work was powerful, visceral, steeped in humanity and stirred a powerful emotional response in the spectator. Yet, it seemed that this physical artistic expression was a step too far for many on the left and Britain’s black community. Most of them, and the 23,000 who signed the petition calling for the Barbican to shut down the work, hadn’t seen the performance. Instead, they felt triggered by a series of publicity photographs of actors performing actions of enslavement and of human bondage.
An image of a semi-naked black woman, sitting, waiting on a bed with her back to the camera, and the reflection of her face and eyes looking back at the viewer, composed and calm was uncomfortable viewing. The living tableau, entitled A Place in the Sun, colonial exhibit, Paris, 1920s was based on a factual account of a French colonial officer who kept a black woman chained to his bed, exchanging food for sexual services. This took place during the French, Belgian and Portuguese scramble for rubber in the Congo. It is a difficult image, the performance brought home the tenderness and active being of the captive woman and stirred emotions of both anger and sadness, as did all the tableaux which took us right to the present day, depicting deported refugee individuals who were killed by the hands hired immigration border security forces. It is hard to disagree with the Brett Bailey’s sincerity that the work is a hard-hitting indictment against racism.
Yet, for the protesters Exhibit B was “an exhibition by a privileged white man who benefited from the oppression of African people in the country [South Africa] in which he grew up, which objectifies black people for a white audience.”
At the opening night in London, 200 angry protesters, with the assistance of the British police force, successfully censored the work. Exhibit B will probably never be performed in England for the foreseeable future.
In the past, artistic, particularly literary works such as DH Lawrence’s Lady Chatterley’s Lover, Vladimir Nabokov’s Lolita, James Joyce’s Ulysses to name a few were banned by state officials and enforced by draconian laws such as the Obscene Publications Act 1959. However, recent censorship of artistic expression is no longer the domain of the state and its officials. It is now curbed by radical activists and also by curators and arts professionals who feel too morally weak to defend and stand by controversial works of art. The police are now called in for their advice on artistic expression and inevitably, in the name of ‘public safety’ works of art are censored from the public.
Only recently we witnessed the censorship of a witty series of satirical photographs by an anonymous artist called Mimsy (sorry Banksy, you’ve been up-staged) depicting the popular children models of Sylvanians (cute furry creatures that akin to those in Beatrix Potter’s tales) innocently enjoying leisurely pursuits such as family picnics, sun-bathing on a beach, having a few pints or just simply watching TV where they are threatened by masked, armed creatures in black uniform called MICE-IS “a fundamentalist terror group [threatening] to annihilate every species that does not submit to their hardline version of sharia law”. However, this wasn’t taken down due to any law being contravened. The work, pulled from an exhibition at the Mall Galleries in London entitled Passion for Freedom (oh the irony) was a result of the gallery managers asking advice from the police as they felt uncomfortable with the “potentially inflammatory content of Mimsy’s work”. The police agreed that the work was inflammatory and couldn’t guarantee the safety of the gallery or visitors, therefore £36,000 would have to be paid to the police force for security cover.
Censorship by fear of terror, by mob-rule, by “triggering’ traumatic feelings, the growing self-censorship of artistic works and the British state’s lily-livered position in defending free expression come into arbitrary play, leading to a worrying situation where potentially any work of art can be censored.
It’s easy to morally grandstand and point the finger at the horrific killings of cartoonists and bloggers in Bangladesh and Iran and criticise the Chinese authorities for their ‘house imprisonment’of Ai Weiwei, but if we cannot defend all forms of artistic expression from the high arts to popular culture, we are seriously compromising artistic freedom for fear of upsetting various communities of interests, be they Muslims, feminists or anti-racists.
I am currently reading Azar Nafisi’s brilliant latest book, Republic of Imagination (2014) where she writes a chapter on the US writer Mark Twain’s 1884 novel Huckleberry Finn as a major inspiration in her life and moral outlook. The novel is currently triggering some US literary students and professors into a state of apoplectic trauma as the word ‘nigger’ is used 219 times in the novel. The decision to re-publish the novel and replace the word ‘nigger’ with ‘slave’ is a dangerous re-writing of history and art. Nafisi defends artistic expression unreservedly and quotes from one of Twain’s notebooks as follows:
“Expression – expression is the thing – in art. I do not care what it expresses, and I cannot tell, generally, but expression is what I worship, it is what I glory in, with all my impetuous nature.” (Republic of Imagination, p.88)
Art should be dangerous, unsettling, funny, an emotional journey, beautiful, entertaining and yes, obscene. Artistic expression, in all its manifestations, is a value that must be defended in our Western democracies. We should heed Mark Twain’s wise words.
Manick Govinda is head of artists’ advisory services for ArtsAdmin
Govinda is participating in the 17 Oct Artistic expression: where should we draw the line?Battle of Ideas session with Index on Censorship CEO Jodie Ginsberg, Cressida Brown, Nadia Latif, Nikola Matisic with chair Claire Fox at the Battle of Ideas festival.
Index on Censorship magazine editor Rachael Jolley is speaking at Does artistic expression have its limits? at the Bow Arts Trust on Monday 05 October
28 Sep 2015 | About Index, Art and the Law Commentary, Artistic Freedom Commentary and Reports, Campaigns, Statements
Index condemns a decision to remove an artwork by the artist Mimsy showing Sylvanian Families toys being terrorised by Isis.
According to reports, Isis Threaten Sylvania, a series of seven satirical light box tableaux, was removed from the Passion for Freedom exhibition at the Mall galleries after police raised concerns about the “potentially inflammatory content” of the work.
The removal highlights a worrying trend in which artistic or other work that addresses extremism has been shut down. Over the summer, the National Youth Theatre pulled a planned production of Homegrown, a play that examined Isis recruitment of young Britons just weeks before its scheduled start. Last week, Maryam Namazie, an Iranian-born campaigner against religious laws, was blocked from visiting Warwick University after the student union said she violated its external speaker policy. That decision has since been overturned.
“Concerns over terror are being inflated to such an extent that perfectly legitimate, non-criminal expression, is being shut down across Britain: from university campuses, to theatre stages, to art galleries,” said Index on Censorship CEO Jodie Ginsberg. “The upcoming extremism bill could worsen the situation further. In the case of the Sylvanian Families exhibit, we need to do more to ensure that police work with venues to promote freedom of expression, not stifle it.”
Index has produced a series of booklets on the UK’s legal framework and its impact on artistic freedom of expression for artists and arts organisations mounting challenging and controversial works.
23 Sep 2015 | Magazine, Volume 37.03 Autumn 2008
In conjunction with the Cambridge Festival of Ideas 2015, we will be publishing a series of articles that complement many of the upcoming debates and discussions. We are offering these articles from Index on Censorship magazine for free (normally they are held within our paid-for archive) as part of our partnership with the festival. Below is an article by author Conor Gearty, on politics and extremism, taken from the summer 2008 magazine. It’s a great starting point for those who plan to attend the Can writers and artists ever be terrorists? session at the festival this year.
Index on Censorship is a global quarterly magazine with reporters and contributing editors around the world. Founded in 1972, it promotes and defends the right to freedom of expression.
I object to the ‘age of terror’ title. My anxiety about this is that it is already putting people like me at a disadvantage. I am forced to work within an assumption, which is shared by all normal, sensible people, that we live in ‘an age of terror’. Therefore the point of view that I am about to put – about the total appropriateness of the criminal law; about the relative security in which we live; about the fact of our being pretty secure in comparison with many previous generations – is deemed to be sort of eccentric, if not obstructive. This language has made impossible my victory in the competition for common sense. So I concede we live in a certain age, with misgivings, but I want to call it an age of counter terror. We live in an age during which it has suited certain elements within the culture to talk up, and reflect in law, a concern with a type of criminal violence that warrants legal form in the shape of counter-terrorism laws.
If you are still concerned about the ‘age of terror’, have a look at the FBI’s compendious analysis of terrorism 2000 to 2005 in the United States. You will find references to the occasional environmental activist who has attacked a tractor; you will find detailed analysis of the very occasional intrusion into animal experiment laboratories by this or that criminal tendency committed to the safeguarding of animals; you will find, in other words, a tremendous amount of space devoted to very little. You will find an organisation that is trying to supply an empirical basis for something without very much conviction. That’s why, frankly, the minister of security [Tony McNulty] says [when I asked if there’s empirical evidence for the decision to increase the length of detention without charge to 42 days]: ‘Honestly, no, I won’t provide an empirical basis,’ rather than attempt, in an increasingly embarrassing way, to deliver one.
This ‘age of terror’ depends on a hypothesis about the future, not about the facts of the present, and it is this that makes it so dangerous. The moment you are manoeuvred into a position where you are forced to debate somebody about civil liberties or human rights on certain imprecise assumptions about the future, which have to be taken on trust, then that is the moment when you have lost the debate. So I am extremely anxious about this.
Now moving on to the substance, the second of the terms we have here in this conference title: ‘free speech’. Well, it’s clear, and the minister reminded us, though I thought he took a reckless point because he said, ‘It would be quite wrong to shout ‘‘fire’’, here.’ Well, the usual, conventional example is that it would be wrong to shout fire in a crowded cinema, of course. And we have to tell the students this (and very few teachers do) – unless, that is, there is a fire! You have this real concern that a lot of students who studied constitutional law go to cinemas and there is a very small fire breaking out and they’re thinking to themselves, ‘Oh my God, but didn’t my professor say ‘‘don’t shout fire?’’ ‘ So a little knowledge can be a very dangerous thing. So I felt like intervening with the minister, but as he said himself, his answers were nearly as long as my questions – so I couldn’t.
Of course there has been control on speech in democratic society, but we are not that interested in that today; we are interested in a different kind of thing about which there is also an extremely long record – control on political speech in a democracy. Now, it is completely wrong to think of democratic countries as not having control on political speech. It has been ever thus. Most recently, and controversially, there are debates about race hate and religious hate, and those are the most obvious recent examples of controls on speech that emanate out of a democratic culture.
An obvious one, which reminds us that so much of this depends on context, is Holocaust denial. The president of Rwanda, Paul Kagame, spoke at the centre I direct, the Centre for the Study of Human Rights at the London School of Economics. It was a fairly controversial speech, and he got asked about his controls on the press, and in particular about new laws concerning the control of genocide denial. Of course it was asked by an American student for whom this sort of control is often anathema. His answer was: ‘They seem to have it in Switzerland and it does not cause any trouble; in Germany it does not cause any trouble; and it is not going cause any trouble in my country – because we need it.’ In other words, what the president was saying was that democratic cultures make judgments about what is necessary in their own culture and that this drives a great deal of control, not only of speech, simpliciter, but of political speech as well.
Now, in this country, when we talk about controls on extremism, I would say, we are talking about controls on political points of view that are put without any linkage to violence. That too has been a recurring theme in this society, in the entire democratic era. You might say the democratic era starts in 1929 or in 1919. It could even begin, if you had forgotten about the working class, in 1832. But since its inception, we have had control on political speech – and not just during both wars when it was severe. (In the Second World War, parenthetically, Churchill had to order a review of the magistrates’ cases in which anxious judges were throwing people in jail for causing despondency among the public. There was a fantastic debate in the House of Commons, where Churchill, as prime minister, said something along the lines of: ‘We are fighting for freedom, civil liberties and the rule of law, these magistrates have over interpreted the laws we passed, we have to stop them.’) Apart from the wars, in the 1920s, people of the Communist Party here were convicted of sedition. Their conviction was really of membership to the Communist Party, but sedition was the legal form. In 1934, an Act of Parliament was passed called the Incitement to Disaffection Act, which criminalised attempts to persuade the army of the rightness of the socialist cause. In the 1950s and in the 1960s there were political prosecutions under the official secrets legislation that was designed to tackle extremism – which then took the form of radical-left political speech. We have had it in the entire democratic era – so what’s new?
I’ll come to what’s new about the so-called ‘age of terror’, through the so-called terrorism problem – which was of course originally the Irish problem. There have been some references here to this, this afternoon. Memories seem to be extremely short. The legislation was mentioned in the Q&A with the minister. Throughout the problem of political violence in Northern Ireland, there were frequent examples of journalists being at the foreground of efforts by government to attack the peaceful purveyors of political points of view – and in particular to attack the messengers who covered incidents which were of concern to the government. In 1979, for example, Newsnight was compelled by pressure not to broadcast film it had of an IRA action in Carrickmore. In regards the attack on members of the British Army in West Belfast, there were orders that required the media to return its filming of those events, with a view to facilitating prosecution. There was an ABC news crew, which was headed by Pierre Salinger, which was arrested in Northern Ireland. There were frequent controls on the press. There was, it is said, the punishment of Thames TV, through the non- renewal of its franchise – I don’t know if it is the case – for having the temerity to broadcast Death on the Rock, a report that exposed the events in Gibraltar that led to the death of three members of the IRA. There was, above all, the media ban in 1988. A ban not only, as would have been claimed at the time, of IRA members, who were already prevented from appearing on television or radio as a result of proscription introduced in this country in 1974, but of persons who shared the political objectives of the Provisional IRA.
Now this is the point about chill, which is relevant: with the media ban in place, Mr McNulty, or the equivalent of the day, naturally says ‘We do not intend to destroy free speech; we are sending out signals of support for freedom.’ The reality is, however, that news editors, nervous members of the university computer department, radio talk shows and producers are not scrutinising the media ban, they’re not looking at the Internet – they are thinking there is a law that stops me doing ‘this’, but they are vague and anxious about what the ‘this’ is that they refuse to do. It is back to the magistrates during the Second World War. It is the broadcasting of a pop song, by the Pogues for example; it is the refusal to have an interview with persons pushing for the point of view that the Birmingham Six and Guildford Four have not been lawfully imprisoned because their convictions are unsafe and unsatisfactory. The ‘this’ is actually not the violent extremists being prohibited; the ‘this’ are the people on the wider periphery of the same mission, who find that their ability to enter into the public arena for discussion and debate is being undermined by the drive from within government to address so-called extremism.
Now, the United States is very well versed in this – the country with a strong supposed commitment to free speech that has forced out of existence leftist opinion within the country – so it is not all about law. In the United States, it is called the chill factor. And what we learn from the past – moving now to the contemporary, so-called ‘war on terror’ – is the danger of the chill factor, the danger of fear driving a liberal culture onto the defensive and making normal the repression that flows out of that fear. We had the surfacing of an extreme example when, in the immediate aftermath of the 7 July bombings, the government formed the view that it would be important to prevent the celebration of terrorism actions. You may remember in what is now the Terrorism Act 2006, Section 1, there was a brief period when there was a Terrorism Bill which had the plan of having a schedule of things you could celebrate and a schedule of things you couldn’t. So, if you rather fancied celebrating Cromwell for having chopped off the head of a King, that was okay. There was a period where it looked as though you could celebrate the 1916 Easter Rising, but you couldn’t celebrate anything to do with Islam. You couldn’t celebrate the removal of the Shah of Iran, for example, because it is about power – and the powerful are able to determine what they can celebrate and what they cannot. Now, this was removed, because debate exposed it as absurd, but the ‘power’ point remains.
The powerful have erected their current position usually off the backs of violence – not necessarily their own violence, but the violence of their predecessors – and they can celebrate that violence without fear, because they have the power to control the system. But those who have no power in the culture, those who critique the effect of the exercise of power on them, their rival stories of resistance to oppression, of colonial liberation, are condemned as the celebration of terrorism.
Now, finally, what’s different about this current age of terror, the extremism of today? Well, the IRA problem was one that produced in the end a solution; and it was always understood that there was the possibility of a solution. My real concern about this stuff, about the age of terror, is not the word ‘terror’ but the word ‘age’. It is a new situation from which we cannot remove ourselves. It requires no enemy. If you haven’t recently read George Orwell’s 1984, go back to it and read bits of it with this in mind. The unknown enemy who cannot be named, much less found, who never appears to fight back. We know, yes, there are 16 or 17 terrorist plots in the UK or 20 or 22 we are sometimes told, we don’t know whether it is the same number as last year or whether this has changed. Now, I can’t question the Secret Service’s briefings. For all I know these plots do exist. But there is a driven quality to this – a drive for a re- organisation of our culture, away from the commitment of liberal values and in the direction of the commitment of security, which I think is quite important.
One of the reasons why the 42-day detention period matters so much to me, is because opposition to it is a very strong signal that law should not be made on the basis of undisclosed fears about an uncertain future. And it is a blank cheque to the powerful – to push through everything that they desire off the back of that. I wonder what you thought about Mr McNulty’s response about his proposed objections to an extension to 90-days detention in three years, when a Conservative strongman of some sort or other is home secretary and there is a further push for yet more law? How can Labour oppose such a law? The culture will have shifted, with both of our main parties now in favour of extreme legislation on the basis of future threat. We will have lost something important, something liberal, in our political community.
I know that I haven’t dealt with law, which is also in the title, but it is on this point about the culture that I want to end. Do not look to law to dig you out of this hole if you believe in free speech, if you believe in a democratic culture that involves freedom for the powerless as well as for the powerful. Law usually sides with the powerful; law has always done so in this country, apart from one or two occasions, which are then paraded as evidence of the truth. Exceptions do not make rules; exceptions show the existence of the rules. In the 1930s, all the executive and police repression was upheld; in the 1950s, 1960s and 1970s as well; the media ban was upheld in the House of Lords in the late 1980s. The stop and search powers in Section 44 of the Terrorism Act 2000, which the minister acknowledges are being used too broadly, have been upheld by the House of Lords, in a recent case, Gillan v the Metropolitan Police Commissioner. So don’t be misled by avuncular old men being profiled in the liberal press. There are one or two exceptions, but do not rely on law to dig you out of this hole. Rely on political action, rely on generating enough head of steam to preserve our liberal values, so that it becomes common sense – not for Mr McNulty, not for the Mr McNulty of two or three years, when he is trying to rebuild his relationship on the left, but common sense for the McNultys of today, or the Lord Goldsmiths of last year. The culture will be more secure when people, like Churchill during the war, commit to free speech when they are in power and not only when they have left office.
© Conor Gearty and Index on Censorship
Join us on 25 October at the Cambridge Festival of Ideas 2015 for Question Everything an unconventional, unwieldy and disruptive day of talks, art and ideas featuring a broad range of speakers drawn from popular culture, the arts and academia. Moderated by Index on Censorship CEO Jodie Ginsberg.
This article is part of the summer 2008 issue of the global quarterly Index on Censorship magazine, with a special report on propaganda and war. Click here to subscribe to the magazine.