05 Feb 19 | Artistic Freedom, Artistic Freedom Statements, Campaigns -- Featured, Press Releases, Statements, Uganda
More than 130 musicians, writers and artists, together with many British and Ugandan members of parliament, have signed a petition calling on Uganda to drop plans for regulations that include vetting songs, videos and film scripts prior to their release. Musicians, producers, promoters, filmmakers and all other artists would also have to register with the government and obtain a licence that can be revoked for a range of violations.
Index on Censorship is deeply concerned by these proposals, which are likely to be used to stifle criticism of the government.
“Around the world from Cuba to Indonesia and Uganda, artists are being pressured by governments seeking to control their art and their message. These misplaced efforts are an intolerable intrusion into artistic freedom and must not be enacted,” Jodie Ginsberg, CEO of Index said.
Signatories to the letter include U2’s Bono and Adam Clayton, author Wole Soyinka, and Razorlight’s Johnny Borrell.
Full text of the letter follows:
Uganda’s government is proposing regulations that include vetting new songs, videos and film scripts, prior to their release. Musicians, producers, promoters, filmmakers and all other artists will also have to register with the government and obtain a licence that can be revoked for a range of violations.
We, the undersigned, are deeply concerned by these proposals, which are likely to be used to stifle criticism of the government.
We, the undersigned, vehemently oppose the draconian legislation currently being prepared by the Ugandan government that will curtail the freedom of expression in the creative arts of all musicians, producers and filmmakers in the country.
The planned legislation includes:
- All Ugandan artists and filmmakers required to register and obtain a licence, revokable for any perceived infraction.
- Artists required to submit lyrics for songs and scripts for film and stage performances to authorities to be vetted.
- Content deemed to contain offensive language, to be lewd or to copy someone else’s work will be censured.
- Musicians will also have to seek government permission to perform outside Uganda.
Contained in a 14 page draft Bill that bypasses Parliament and will come before Cabinet alone in March to be passed into law, any artist, producer or promoter who is considered to be in breach of its guidelines shall have his/her certificate revoked.
This proposed legislation is in direct contravention of Clause 29 1a b of the Ugandan
Constitution which states:
- Protection of freedom of conscience, expression, movement, religion,
assembly and association.
(1) Every person shall have the right to—
(a) Freedom of speech and expression which shall include freedom of the media;
(b) Freedom of thought, conscience and belief which shall include academic
freedom in institutions of learning;
Furthermore, in accordance with Clause 40 (2)
(2) Every person in Uganda has the right to practise his or her profession and to
carry on any lawful occupation, trade or business.
As a Member State of the African Union, the Republic of Uganda has ratified the African Charter on Human and Peoples’ Rights. Article 9 of the Charter provides:
- Every individual shall have the right to receive information.
- Every individual shall have the right to express and disseminate his opinions within the law.
We therefore call upon the Ugandan government to end this grievous and blatant
violation of the constitutional rights of Ugandan artists and producers, and to honour
its international obligations as laid down in the various international human rights
conventions to which Uganda is a signatory and for Uganda to uphold freedom of speech.
Background
- Although freedom of expression is protected under the Uganda constitution, it is coming under increasing threat in the country.
- In 2018, authorities arrested popular musician and opposition member of parliament, Robert Kyagulanyi, better known as Bobi Wine. He was badly beaten in military custody. Musicians, writers and social activists including Chris Martin, Angelique Kidjo, U2’s The Edge, Damon Albarn and Wole Soyinka, signed a petition calling for his release, which ultimately succeeded.
- Since July 1, Ugandans have had to pay a tax of 200 shillings, about 5 US cents, for every day they use services including Facebook, Twitter, Skype and WhatsApp.
- The government said it wanted to regulate online gossip, or idle talk but critics fear this meant it wanted to censor opponents.
- During the presidential election in 2016, officials blocked access to Facebook and Twitter
- On Thursday January 31 a statement was made by Jeremy Hunt MP, the UK’s Secretary of State for Foreign and Commonwealth Affairs: “”We are aware of the proposed regulations to the Ugandan music and entertainment industry that are currently being consulted on and are yet to be approved by the Cabinet. The UK’s position is that such regulations must not be used as a means of censorship. The UK supports freedom of expression as a fundamental human right and, alongside freedom of the media, maintains that it is an essential quality of any functioning democracy. We continue to raise any concerns around civic and political issues directly with the Ugandan government.”
ABTEX – Producer, Uganda
ADAM CLAYTON – Musician, U2
ALEX SOBEL – Member of Parliament, United Kingdom
AMY TAN – Novelist, Screenwriter
ANDY HEINTZ – Freelance journalist and author, USA
ANISH KAPOOR – Artist, United Kingdom
ANN ADEKE – Member of Parliament, Uganda
ANNU PALAKUNNATHU MATTHEW – Artist, USA and India
ASUMAN BASALIRWA – Member of Parliament, Uganda
AYELET WALDMAN – Writer
BELINDA ATIM – Uganda Sustainable Development Initiative
BILL SHIPSEY – Founder, Art for Amnesty
BONO – Musician, U2
BRIAN ENO – Artist, Musician and Producer
BRUCE ANDERSON – Journalist Editor/Publisher
CLAUDIO CAMBON – Artist/Translator, France
CRISPIN BLUNT – Member of Parliament and former Chair of Foreign Affairs Select Committee, United Kingdom
DAN MAGIC – Producer, Uganda
DANIEL HANDLER – Writer, Musician aka Lemony Snicket
DAVID FLOWER – Director, Sasa Music
DAVID HARE – Playwright
DAVID SANCHEZ – Saxophonist and Grammy Winner
DEBORAH BRUGUERA – Activist, Italy
DELE SOSIMI – Musician – The Afrobeat Orchestra
DOCTOR HILDERMAN – Artist, Uganda
DR VINCENT MAGOMBE – Journalist and Broadcaster
DR PAUL WILLIAMS – Member of Parliament, United Kingdom
EDDIE HATITYE – Director, Music In Africa
EDDY KENZO – Artist, Uganda
EDWARD SIMON – Musician and Composer, Venezuela
EFE OMOROGBE – Director Hypertek, Nigeria
ERIAS LUKWAGO – Lord Mayor of Kampala Uganda
ELYSE PIGNOLET – Visual Artist, USA
ERIC HARLAND – Musician
FEMI ANIKULAPO KUTI – Musician, Nigeria
FEMI FALANA – Human Rights Lawyer, Nigeria
FRANCIS ZAAKE – Member of Parliament, Uganda
FRANK RYNNE – Senior Lecturer British Studies, UCP, France
GARY LUCAS – Musician
GERALD KARUHANGA – Member of Parliament, Uganda
GINNY SUSS – Manager, Producer
HELEN EPSTEIN – Professor of Journalism Bard College
HENRY LOUIS GATES – Director of the Hutchins Center at Harvard University
HUGH CORNWELL – Musician
IAIN NEWTON – Marketing Consultant
INNOCENT (2BABA) IDIBIA – Artist, Nigeria
IRENE NAMATOVU – Artist, Uganda
IRENE NTALE – Artist, Uganda
JANE CORNWELL – Journalist
JEFFREY KOENIG – Partner, Serling Rooks Hunter McKoy Worob & Averill LLP
JESSE RIBOT – American University School of International Service
JIM GOLDBERG – Photographer, Professor Emeritus at California College of the Arts
JODIE GINSBERG – CEO, Index on Censorship
JOEL SSENYONYI – Journalist, Uganda
JON FAWCETT – Cultural Events Producer
JON SACK – Artist
JOHN AJAH – CEO, Spinlet
JOHN CARRUTHERS – Music Executive
JOHN GROGAN – Member of Parliament, United Kingdom
JONATHAN LETHEM – Novelist
JONATHAN MOSCONE – Theater Director
JONATHAN PATTINSON – Co-Founder Reluctantly Brave
JOHNNY BORRELL – Singer, Razorlight
JOJO MEYER – Musician
KADIALY KOUYATE – Musician, Senegal
KALUNDI SERUMAGA – Former Director – Uganda National Cultural Centre/National Theatre
KASIANO WADRI – Member of Parliament, Uganda
KEITH RICHARDS OBE – Writer
KEMIYONDO COUTINHO – Filmmaker, Uganda
KENNETH OLUMUYIWA THARP CBE – Director The Africa Centre
KING SAHA – Artist, Uganda
KWEKU MANDELA – Filmmaker
LAUREN ROTH DE WOLF – Music Manager Orchestra of Syrian Musicians
LEMI GHARIOKWU – Visual Artist, Nigeria
LEO ABRAHAMS – Producer, Musician, Composer
LES CLAYPOOL – Musician, Primus
LINDA HANN – MD Linda Hann Consulting Group
LUCIE MASSEY – Creative Producer
LUCY DURAN – Professor of Music at SOAS University of London
LYNDALL STEIN – Activist/Campaigner, United Kingdom
MARC RIBOT – Musician
MARCUS DRAVS – Producer
MAREK FUCHS – MD Sauti Sol Entertainment, Kenya
MARGARET ATWOOD – Author
MARK LEVINE – Professor of History UC Irvine – Grammy winning artist
MARY GLINDON – Member of Parliament, United Kingdom
MATT PENMAN – Musician, New Zealand
MARTIN GOLDSCHMIDT – Chairman, Cooking Vinyl Group
MEDARD SSEGONA – Member of Parliament, Uganda
MICHAEL CHABON – Writer
MICHAEL LEUFFEN – NTS Host, Carhartt WIP Music Rep
MICHAEL UWEDEMEDIMO – Director, CMAP and Research Fellow King’s College London
MILTON ALLIMADI – Publisher, The Black Star News
MORGAN MARGOLIS – President, Knitting Factory Entertainment, USA
MOUSTAPHA DIOP – Musician, Senegal MusikBi CEO
MR EAZI – Musician, Producer, Nigeria
MUWANGA KIVUMBI – Member of Parliament, Uganda
NAOMI WEBB – Executive Director, Good Chance Theatre, United Kingdom
NICK GOLD – Owner, World Circuit Records
NUBIAN LI – Artist, Uganda
OHAL GRIETZER – Composer
OBED CALVAIRE – Musician
OMOYELE SOWORE – Founder Sahara Reporters and Nigerian Presidential Candidate
PATRICK GRADY – Member of Parliament, United Kingdom
PAUL MAHEKE – Artist, United Kingdom
PAUL MWIRU – Member of Parliament, Uganda
PETER GABRIEL – Musician
RACHEL SPENCE – Arts Writer and Poet, United Kingdom
RASHEED ARAEEN – Artist, United Kingdom
RAYMOND MUJUNI – Journalist, Uganda
RHETT MILLER – Musician, Writer
RILIWAN SALAM – Artist Manager
ROBERT MAILER ANDERSON – Writer and Producer
ROBIN DENSELOW – Journalist, United Kingdom
ROBIN EUBANKS – Trombonist, Composer, Educator
ROBIN RIMBAUD – Musician
RUTH DANIEL – CEO, In Place of War
SAMIRA BIN SHARIFU – DJ
SANDOW BIRK – Visual Artist, USA
SANDRA IZSADORE – Author, Artist, Activist, USA
SEAN JONES – Musician, Composer, Bandleader, Educator
SEBASTIAN ROCHFORD – Musician, Pola Bear
SEUN ANIKULAPO KUTI – Musician, Composer
SHAHIDUL ALAM – Photojournalist and Activist, Bangladesh
SIDNEY SULE – B.A.H.D Guys Entertainment Management, Nigeria
SIMON WOLF – Senior Associate, Amsterdam & Partners LLP
SRIRAK PLIPAT – Executive Director, Freemuse
STEPHEN BUDD – OneFest / Stephen Budd Music Ltd
SOFIA KARIM – Architect and Artist
STEPHEN HENDEL – Kalakuta Sunrise LLC
STEVE JONES – Musician and Producer
SUZANNE NOSSEL – CEO, PEN America
TANIA BRUGUERA – Artist and Activist, Cuba
TOM CAIRNES – Co-Founder Freetown Music Festival
WOLE SOYINKA – Nobel Laureate, Nigeria
YENI ANIKULAPO KUTI – Co-Executor of the Fela Anikulapo Kuti Estate
ZENA WHITE – MD, Knitting Factory and Partisan Records
11 Oct 18 | Artistic Freedom, News and features, Risks, Rights and Reputations
[vc_row][vc_column][vc_single_image image=”97076″ img_size=”full” add_caption=”yes”][vc_column_text]Agnieszka Kolek is curator and co-founder of Passion for Freedom, an annual competition exhibition of by artists facing censorship worldwide. In February 2015, Kolek survived the terrorist attack in Copenhagen, targeting the panel discussion she appeared in alongside Swedish artist Lars Vilks. Later that year in London, the Passion for Freedom 2015 exhibition at Mall Galleries, London, hit the headlines when a work Isis Threaten Sylvania by Mimsy was removed by the curators on the advice of the police. They had no choice because they couldn’t pay the £36,000 demanded by the police to guarantee security of the exhibition.
JF: How does your experience of the Danish police compare to the British police?
AK: The panel discussion — Art, Blasphemy and Freedom of Speech — was organised by the Lars Vilks Committee with the full support of the police. This was only a month after the Charlie Hebdo attack, but there was no question that the discussion should go ahead. There were two plain-clothed police officers, two uniformed police and then two special service officers responsible for Lars, who has 24-hour police protection. Police checked bags as the audience came in. When the attack happened — the Danish filmmaker Finn Nørgaard, one of the guests, was shot outside the venue and died on the pavement — the two special service officers took Lars to safety. We know that after an attack on freedom of speech the next target is Jews – it happened with Charlie Hebdo and it happened in Copenhagen when the same gunman attacked a bat mitzvah party in the evening, killing the security guard. Danes feel very bad that they didn’t anticipate this pattern and there was a lot of blaming of the police for this, but they did their best considering the circumstances. I think there has to be more legal power give to the police to extinguish the sources of the extremism, and its results. When you already have flames it is harder to put it, instead you have to prevent the fire from starting.
In London in 2015 it was very different. The police wanted to determine what artworks could go on show, and even the artistic value of exhibited works, showing an indirect form of censorship claiming it was “for your own good – security”. Police intelligence identified “serious concerns” regarding the “potentially inflammatory content” of Mimsy’s work and for this reason “advised” us to remove the work or pay protection money at £6,000 a day. We were completely shocked. Out of all the works in the exhibition, we would never have thought that they would pick this one out. We asked for more information about the “serious concerns”, especially because we wanted to know if there was a threat to Mimsy herself. They didn’t give us any more information. They wanted to place blame on the festival or its artists for causing problems, rather than protecting the space for art to show the suffering of people around the world and the lack of freedom to openly discuss it. While we tried to fundraise for our own protection, we were threatened with more works being withdrawn. Art cannot be controlled by the police – not in London, which for hundreds of years is a symbol of democracy and freedom. Not in the creative capital of Europe where artists flock from all over the world.
JF: But in Copenhagen two people lost their lives – you could have lost yours. How do you reconcile the loss of life with the pursuit of freedom?
AK: It is not easy to answer as I am not treating others’ and my own life lightly. Behind each individual there is a unique person, unique life story and to cut it short for the supposedly abstract ideal of free speech and expression might seem reckless. It is not. Again and again we learn how giving concessions to those who want to restrict freedoms of speech allows the darkness not only to enter our home but also our hearts. Not resisting it at early stages causes our societies to change beyond recognition.
I was invited to the Copenhagen event way ahead, so after the Charlie Hebdo attack, the chair got in touch with me to say she would understand in view of the heightened security risk, if I chose not to come. So I thought long and hard about it and said I will have to die someday, and I know I will look back at that this moment and I will remember the choice I made and it will be important.
Passion for Freedom is a very effective tool for assessing how much freedom there is in society. Artists cannot be easily controlled. In their inner core they are idealists. We stand with them giving them space and time to express themselves. Freedom will prevail despite political and corporate pressure to censor and restrict open debate. We are its guardians.
JF: How have the experiences of 2015 impacted on how you approach this year’s exhibition?
AK: The commitment and the conviction are still there. But we are not clear where we stand, because there is no clear definition of what is appropriate or what is inflammatory. It is a shifting ground. In the past, we created the space to fully exhibit work that had been censored elsewhere by a curator or a gallery owner. Now we are in the situation where the state, through the arm of the police, imposes this pre-emptive self-censorship on you. Since the censorship incident, we cannot guarantee artists that they will be able to exhibit/perform during a festival talking about freedom. Over the years there has been a number of artists who requested to be exhibited under pseudonyms (as often their lives are threatened in the UK or back in their home countries). Can we guarantee that the police will not arrest them? Until now, we could guarantee it to them. Since 2015 we are not sure that is the case. My approach is not to have any preconceived idea of how it will go with the police this time. We will still try to be open and have a dialogue in the belief that the police are still there to protect us and it is still a democratic country. I will be honest – we are also treating it as a kind of testing ground. Let’s see if this is still a democratic country or is it just on paper?
The artistic community in the United States and Australia is shocked by the police’s censorious attitude to arts in London. There are groups of people who decided to open Passion for Freedom branch offices in New York and Sydney to ensure that British censorship is being exposed. And in case freedom is completely extinguished in the UK they can continue the important work to give artists the platform to exhibit their works and debate important issues in our societies. And if we discover that there is even less freedom than in 2015, we are considering moving this exhibition to Poland because there is more freedom there. This is on the cards, we are already discussing it.
JF: Do you think Passion for Freedom exhibition represents a security risk?
AK: The way it is being framed in the media it looks like we are troublemakers and we are asking for it. I see it another way – we are representing the majority of society that wants to ask questions, to solve problems and to move forward together. Instead of giving in to a minority that wants to use violence and threats as a way to push forward their own agenda. I think it is in the interests of any society to make sure there is the space for difficult conversations because it moves away from creating the situation where the only way to solve problems is violence. You need to allow people to have this space and art is a wonderful tool to do that, without falling for propaganda, or just favouring one way of looking at things over another. Here you can have different voices, at different volumes, and different issues at play.
JF: The 2015 terror attack in Copenhagen targeted Swedish artist Lars Vilks and those who support him. Why do you think it is important for an artist to be free to deliberately insult and offend people’s religious beliefs?
AK: The world is a much more complex place than the newspaper headlines would like us to believe. Lars Vilks was invited to participate in an art exhibition on the theme “The Dog in Art” that was to be held in the small town of Tällerud in Värmland. Vilks submitted three pen and ink drawings on A4 paper depicting Muhammad as a roundabout dog. At this time, Vilks was already participating with drawings of Muhammad in another exhibition in Vestfossen, Norway, on the theme “Oh, My God”. Vilks has stated that his original intention with the drawings was to “examine the political correctness within the boundaries of the art community”. It is not a secret that Sweden is known for vehemently criticising the United States and Israel, whereas political Islam and its influence on non-Muslim communities are rarely questioned.
Artists practising various forms of art, whether poetry, drama, drawing or film, have been challenging those who hold power for millennia.
Few kings, warlords or dictators allowed criticism or satire of themselves. The blasphemy laws were in place not to protect God but those who claimed to be his only representatives on earth. Nowadays, the same seems to be disguised in the cloak of hurt feelings and delicate egos. Artists are idealistic visionaries. They cannot hold themselves back pretending that they are blind to what is in front of their eyes. Lack of open discussion stifles our development as societies. Fear of reprisal and death cripples the human spirit. Those who cower under the whip hoping to appease and remove the threat are actually risking the fate of a slave and subordinating to dehumanised serfdom their true nature – that of a free man.
JF: Why do you have this passion for freedom?
AK: Behind the Iron Curtain we naively believed that not only was the West this Land of Milk and Honey of material goods, we were also certain that there was freedom here, that people would value and protect it. So moving here, first you discover that everything is not so perfect materially, but then the bigger eye-opener is that there is always someone who wants to take freedom away and if you don’t stand up tall in society this threat is always present. I don’t think you can continue just exercising freedom of speech without appreciating what it has brought to us over the long years when previous generations were fighting for it, and though it is not ideal, the state we are in is much better than it used to be.[/vc_column_text][vc_row_inner][vc_column_inner width=”1/4″][vc_single_image image=”103159″ img_size=”full”][/vc_column_inner][vc_column_inner width=”3/4″][vc_column_text]
Passion for Freedom Art Festival
10th-anniversary edition, 1 – 12 October 2018, London
The Royal Opera Arcade Gallery & La Galleria Pall Mall
Royal Opera Arcade, 5b Pall Mall, London SW1Y 4UY
The 10th-anniversary edition of internationally renowned Passion for Freedom Art Festival will open in London on 1 – 12 October 2018 at its new location – the Royal Opera Arcade Gallery & La Galleria Pall Mall. The exhibition showcases uncensored art from around the world, promoting human rights, highlighting injustice and celebrating artistic freedom.
Passion for Freedom was founded in 2008 and over the past ten years grew into an international network of artists, journalists, filmmakers and activists striving to celebrate and protect freedom of expression. We have displayed more than 600 artworks from 55 countries, including China, Iran and Venezuela.
The competition attracts much worldwide attention. This year, we received more than 200 submissions out of which we will exhibit over 50 shortlisted artists. From Venezuela to Turkey to the United Kingdom, those artists ceaselessly expose the restraints on freedom of speech, expression, and information in their countries. Altogether, we will display 100 such artworks during the festival. Passion for Freedom covers painting, photography, sculpture, performance, video, as well as authors, filmmakers and journalists.
Competitors will be judged by a prestigious selection panel. Winners will be announced on the 6th of October at the Gala Award Night.
This year’s judges are:
Andrew Stahl (United Kingdom)
Francisco Laranjo (Portugal)
Gary Hill (USA)
Lee Weinberg, PhD (Israel)
Mehdi-Georges Lahlou (Belgium)
Miriam Elia (United Kingdom)
Mychael Barratt PRE (Canada/United Kingdom)
This year we are thrilled to announce a Special Theo Van Gogh Award awarded in honour of his courage and contributions to freedom of expression.
Furthermore, we have invited a select group of special guest artists to display their latest works.
Passion for Freedom 2018 Guest Artists are:
Agata Strzalka (Poland)
Andreea Medar (Romania)
Emma Elliott (United Kingdom)
Jana Zimova (Czech Republic/Germany)
Mimsy (United Kingdom)
Öncü Hrant Gültekin (Turkey/Germany)
Oscar Olivares (Venezuela)
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28 Aug 18 | Campaigns -- Featured, Statements, Turkey, Turkey Statements
[vc_row][vc_column][vc_column_text]We the undersigned organizations call on Turkey’s government to follow through on its promise to end the state of emergency by withdrawing recently passed legislation that replicates many of the state of emergency’s special provisions.
The adoption of rights-restricting laws that closely mirror those in force during the state of emergency makes a mockery of the government’s claim to have ended the state of emergency; if anything, it seems to be making the state of emergency more permanent.
Many of the new provisions continue to violate universally recognized human rights, including those to freedoms of thought, expression, peaceful demonstration and assembly.
Amongst the new legislation we believe violate fundamental rights and must be repealed, we would highlight:
-
- The extension of detention without charge to up to 12 days via amendment of Turkey’s Anti-Terrorism law;
- The granting of the authority to ban individuals from passage between and within provinces to provincial governors, and to forbid public assemblies at their discretion;
- The renewal of arbitrary authority to dismiss individuals from academic, public and judicial service, and authority to confiscate the passports of those dismissed;
- The relaxation of judicial review of the cases of individuals in pre-trial detention, from requiring in-person or video presentation of the detainee in court every 30 days, to requiring visual review only every 90 days.
These provisions harm and restrict the rights of individuals who are not genuine security threats to Turkey’s government or citizens, but who are critical of government policies or defending human rights- at a time when reconciliation would help to restore prosperity.
We must emphasize that the concerns of neither Turkish citizens nor the international community will be addressed by simply changing the laws under which rights violations are rationalized. If Turkey’s government wishes to be recognized as a responsible state that upholds human rights, it must commit to ending the specific practices and policies that violate those rights.
Signed,
Initiative for Freedom of Expression – Turkey
ActiveWatch – Media Monitoring Agency
Adil Soz – International Foundation for Protection of Freedom of Speech
Albanian Media Institute
ARTICLE 19
Asociación Mundial de Radios Comunitarias América Latina y el Caribe (AMARC ALC)
Association of Caribbean Media Workers
Bytes for All (B4A)
Cartoonists Rights Network International (CRNI)
Foro de Periodismo Argentino
Freedom Forum
Fundamedios – Andean Foundation for Media Observation and Study
Globe International Center
Independent Journalism Center (IJC)
Index on Censorship
Instituto Prensa y Sociedad de Venezuela
International Federation of Journalists (IFJ)
International Press Centre (IPC)
Maharat Foundation
Mediacentar Sarajevo
Media, Entertainment and Arts Alliance
Media Foundation for West Africa (MFWA)
Media Institute of Southern Africa (MISA)
Media Watch
Norwegian PEN
Pacific Islands News Association (PINA)
PEN American Center
PEN Canada
PEN International
Reporters Without Borders (RSF)
South East European Network for Professionalization of Media (SEENPM)
South East Europe Media Organisation
Syrian Center for Media and Freedom of Expression (SCM)
Vigilance for Democracy and the Civic State
Articolo 21
Association of European Journalists
European Centre for Press and Media Freedom
European Federation of Journalists
Fair Trials
Frontline Defenders
German PEN
Italian Press Federation
Global Editors Network
Tunisian Forum for Economic and Social Rights (FTDES)[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_basic_grid post_type=”post” max_items=”4″ element_width=”6″ grid_id=”vc_gid:1535467423408-441388ac-b920-0″ taxonomies=”55″][/vc_column][/vc_row]
08 Jun 18 | Americas, Artistic Freedom, Awards, Cuba, Fellowship, Fellowship 2018, News and features
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Cuban artist Yasser Castellanos
Despite official efforts to stop it in its tracks, Cuba saw the successful completion of its first independent art biennial, organised without the support of the state, on 15 May. Artist Luis Manuel Otero Alcantara and curator Yanelys Nuñez Leyva, members of the Museum of Dissidence, winner of the 2018 Index on Censorship Freedom of Expression Award for art, organised the ten-day #00Bienal de la Habana, which included over 170 artists, writers, musicians and theorists across nine different exhibitions in artists’ homes and studios around the country’s capital.
“Cuban culture is centralised culture and the government has absolute control,” Nuñez Leyva tells Index on Censorship. “The Ministry of Culture, together with all its branches such as the Union of Writers and Artists of Cuba and the National Council of Plastic Arts, are tentacles of the Ministry of the Interior, so all independent proposals, whether cultural, ecological or campaigns against gender violence, for example, are cursed with all the might of the government-controlled media.”
Even at schools pupils are served up propaganda intent on turning them against non-state-approved artists. Some art school students were shown a video portraying Otero Alcantara as a mercenary. “Such a campaign inevitably generates fear around independent projects which then suffer due to lack of both social and economic support,” Nuñez Leyva says.
Economic support was one of the biggest obstacles for #00Bienal. “At the beginning, we thought that we would produce it with what we had at hand, but along the way we realised that we needed more,” Nuñez Leyva says. So a Gofundme campaign was set up, which raised $6,574. “But this wasn’t easy: the impact of the US blockade, our isolation from the world of networks and the impossibility of having credit cards made the process anguishing.”
Otero Alcantara was also imprisoned without cause on several occasions as part of the Cuban government’s campaign of harassment. Others who took part in #00Bienal, whether Cuban or foreign, received similar harassment. Many were even denied entry to the country, including the Cuban-American artist Coco Fusco.
When #00Biennial was announced in September 2017, the Cuban government immediately began to show its discontent through its cultural institutions. In an official declaration they branded the organisers as “unscrupulous people”. In response, #00Bienal’s first slogan was: “From the official to the unscrupulous.”
As culture is so tightly controlled in Cuba, only artists seen to be working in the interests of the regime can operate without restriction. Approved artists usually receive perks, something that gives them a higher status in society. Some artists risked all of this by taking part in #00Bienal. “The system used the worst blackmail against them because they gave the event a legitimacy that the government did not want,” Otero Alcantara says. “These artists were threatened by having their government accreditation taken away. Without this, they would find themselves without ‘official work’.”
Government agents stalked the exhibitions while the organisers were accused of being in league with Cuba’s enemies. How does one respond to such accusations? “We responded by making an event that is as honest as possible, with a wide range of manifestations and artistic expressions that reflected the reality of Cuban art,” Nuñez Leyva says. “We responded with a list of more than 170 participants, not only Cubans, but from Mexico, Spain, Germany, the United States, Romania, Angola, Colombia, Denmark, Ukraine, Brazil, Venezuela, among them high-profile artists that Cuban institutions admire and collaborated with.”
The authorities even tried to prohibit the public from attending, sometimes successfully. Flyers and stickers were also confiscated. “But none of these actions were ever going to stop the energy of the event,” Otero Alcantara says.
“Despite all this pressure, the event went ahead, demonstrating that there is a group of people who are very courageous and have a real commitment culture,” Nuñez Leyva says. #00Bienal helped revive “a spirit of alternative rebellion” through the involvement of “countless numbers of totally unknown artists” that the state would never endorse.
For Otero Alcantara, the event’s success lies in the cohesion it created between artists, scholars and art enthusiasts, something that is unprecedented in the world of Cuban art. “We built an inclusive space of free creation and true collaboration between the people involved, exhibited the work of artists who were never going to have space in an official Havana Biennial and set a precedent for future projects,” he says. “This is one more step towards eliminating a fear that exists throughout Cuba.”
According to the organisers, the terms “revolution” or “revolutionary” have been hijacked and distorted by the Cuban regime. Such deformation has taken root so deep in the imagination of the Cuban people that just by mentioning the word “dissidence” is enough to be shunned, they explain.
“The #00Bienal was a humanistic project that brought to the fore essential values for any society such as unity, solidarity and collaboration,” Nuñez Leyva says. “The event also favoured the less privileged and created beauty and dialogue in favour of a new Cuba.”
The organisers of #00Bienal are under no illusions that life for Cuba’a dissident artists will magically become any easier under Cuba’s new president, Miguel Díaz‑Canel, who took over from Raúl Castro in April 2018. “The Cuban regime is more than any Castro,” Nuñez Leyva says. “It is a system based on a group of families that live both inside and outside the island, who have control over everything, which ultimately contributes to their own wealth.” This corrupt system relies on the deception of a people who have been left without even the strength even to protect themselves against poverty, she adds. “This situation leaves us with little hope, but we have to keep working.”
Otero Alcantara and Nuñez Leyva’s now want to show that #00Bienal wasn’t just a one-off, but is a serious project with longevity. “We will see if it is possible in two years to achieve something similar,” Otero Alcantara says.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_media_grid grid_id=”vc_gid:1528443291288-dfd45bff-0a16-7″ include=”100716,100712,100711,100710,100713,100709,100708,100707,100706,100704,100715,100705″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]
Artists, writers, musicians and theorists who took part in #00Bienal
Amaury Pacheco (Cuba), Iris Ruiz (Cuba), Coco Fusco (Cuba-USA), Tania Bruguera (Cuba), Reynier Leyva Novo (Cuba), Ernesto Oroza (Cuba), Gerardo Mosquera (Cuba), Katherine Bisquet (Cuba), Jose Ernesto Alonso, Yuri Obregón (Cuba), Alein Somonte (Cuba), Alejandro Barreras (Cuba), Anaeli Ibarra (Cuba), Alejandro Taquechel (Cuba), Ariel Maceo Tellez (Cuba), Aryam (Cuba), Aldeide Delgado (Cuba), Armando Cuspinera (Mexico), Antonio Mas (Spain), Alicia Torres (Spain), Ana Olema (Cuba), Alexis Ruiseco (Cuba-USA), Alexandru Raevschi (Germany), Andrés X (Cuba), Alain Aspiolea (Cuba), Alexandre Arrechea (Cuba), Antoni Muntadas (Spain), Biennial Project (USA), Boris González Arenas (Cuba), Colectivo Corason i uevo (Antonio A. Orta, Maykel Almenteros y Pedro Pablo Bacallao) (Cuba), Colectivo Guerrillas Girls, Celia y Yunior (Cuba), Colectivo 2.50 (Ana Gómez, Argelia Leodegarío, Marco Antonio Rodríguez, Itandehuitl Orta, Yuvia Pérez, Esmeralda Pérez) (Mexico), Carlos Manuel Álvarez (Cuba), Clara Astiasarán, Chu (Cuba), David de Omni, David León (Cuba), Danilo Maldonado (El Sexto), Diego Gil (Spain), Eliecer Jiménez Almeida (Cuba), Erish (Mexico), El Oficio (Cuba), Ernesto Hernandez Busto, Enfori García, Filipa César (Portugal), Fabián (2+2 =5) (Cuba), Francis Sánchez (Cuba), Francisco Méndez (Mexico), Francisco Masó (Cuba), Fabian Martínez, Filio Gálvez, Fredric Snitzer, Gabriel Coto (Cuba), Gerardo Stübing (España), Gean Moreno, Henri Eric Hernández (Cuba), Hamlet Lavastida (Cuba), Héctor Trujillo (Cuba), Hugo Patao, Italo Expósito (Cuba), Iván de la Nuez (Cuba), Jesús Hdez-Güero (Cuba), Jesús Benítez (Mexico), José Luis Marrero (Cuba), Josvan Gonzalez Agramonte (Cuba), Julián Yunda Yepes (Mexico), Jenifer Acuña (Cuba), Juan Melo (Colombia), Juan Carlos Alvarez Miranda (Cuba), Jean-Lorin Sterian (Romania), José Bedia (Cuba), Julio César Llopiz (Cuba), Javier Marimón, José Manuel Mesías (Cuba), Keyezua (Angola), Kevin Arrow, Lía Villares (Cuba), Luis Trápaga (Cuba), Luiso, Leandro Villanueva (Sam 33) (Cuba), Lester Dubé (Cuba), Lala Misosniky (Romania), La Alianza (Cuba), Liliam Dooley, Leandro Feal (Cuba), Lourdes Porrata, Miquel García (Spain), Marisol Maza (Mexico), Marcel Marquez (Cuba), Marianna Liosi (Germany), MO colectivo (Mariam Abrajim y Octavio Salazar) (Colombia), Magdiel Aspillaga, Mysora García, Nonardo Perea (Cuba), Natalia López (Colombia), Osmel Almaguer Delgado (Cuba), Osmany Carratalá (Cuba), Oscar Salamanca (Colombia), Orlando Hernández (Cuba), Pablo Pinto (Colombia), Polyanna Morgana (Brazil), Political Architecture: Critical Sustainability (PA:CS) (Denmark), Peter Menéndez, Rafael Carabano (Venezuela), Raúl Meriño (Cuba), Ras Yoe, Ricardo Figueredo, Rodolfo Peraza (Cuba), Rafael Domenech, Rirkrit Tiravanija, Svitlana Biedarieva (Ukraine), Soandry del Río (Cuba), Sandra Ceballos (Cuba), Santiago Alvarez Méndez (Colombia), Sandor (Cuba), Thiago Morandi (Brazil), Tomás Sánchez (Cuba), Tomas Vu, Tonel (Cuba), unx Pardo Ibarra (Colombia), Ulises Valdés (Mexico), Walfrido Valera (Cuba), Yaima Pardo (Cuba), Yasser Castellanos (Cuba), Yesica Suárez (Colombia), Yulier P. (Cuba), Yoenis Eloy Mayeta (Cuba), Yimi Konclase (Cuba), Yvelin Buenrostro (Mexico), Yucef Merhi (Venezuela), Yornel Martínez (Cuba), Yali Romagoza (Cuba), Yanier H. Palao (Cuba).[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_basic_grid post_type=”post” max_items=”4″ element_width=”6″ grid_id=”vc_gid:1528443291296-0ad2c295-a239-7″ taxonomies=”104″][/vc_column][/vc_row]
