Contents – The beautiful game? Qatar, football and freedom
The autumn issue of Index takes as its central theme the FIFA World Cup that will take place in Qatar in November and December 2022.
A country where human rights are constantly under threat, Qatar is under the spotlight and many are calling for a boycott of the tournament.
Index spoke to journalists, human rights activists and philosophers for the latest issue to understand their view on the tangled relationship between football and human rights. Is football really the beautiful game?
Upfront
The Qatar conundrum, by Jemimah Steinfeld: The World Cup is throwing up questions.
Features
Chasing after rights, by Ben Rogers: The activist on being followed by Chinese police.
Special report: The beautiful game?
Victim of its own success? By Simon Barnes: Blame the populists, not the game.
The stench of white elephants, by Jamil Chade: Brazil’s World Cup swung open Pandora’s Box.
The real game is politics, by Issa Sikiti da Silva: Is politics welcome on the pitch in Kenya?
Comment
Much ado about critics, by Lyn Gardner: A theatre objects to an offensive Legally Blonde review.
On reputation laundering, by Ruth Smeeth: Beware those who want to control their own narrative.
Culture
“Imagine the conversation between Bolsonaro and Erdogan”
The United Kingdom is in a period of national mourning, marking the passing of our head of state, Her Majesty Queen Elizabeth II. Global media has been transfixed, reporting on the minutiae of every aspect of the ascension of the new monarch and the commemoration of our former head of state. While the pageantry has been consuming, the constitutional process addictive (yes I am an addict) and the public grief tangible – the traditions and formalities have also highlighted challenges in British and global society – especially with regards to freedom of expression.
We have witnessed people being arrested for protesting against the monarchy. While the protests could be considered distasteful – I certainly think they are – that doesn’t mean that they are illegal and that the police should move against them. Public protest is a legitimate campaigning tool and is protected in British law. As ever, no one has the right not to be offended. And protest is, by its very nature, disruptive, challenging and typically at odds with the status quo. It is therefore all the more important that the right to peacefully protest is protected.
While I was appalled to see the arrests, I have been heartened in recent days at the almost universal condemnation of the actions of the police and the statements of support for freedom of expression and protest in the UK, from across the political system.
What this chapter has confirmed is that democracies, great and small, need to be constantly vigilant against threats to our core human rights which can so easily be undermined. This week our right to freedom of expression and the right to protest was threatened and the immediate response was a universal defence. Something we should cherish and celebrate because it won’t be long before we need to utilise our collective rights to free speech – again.
Which brings me onto the need to protest and what that can look like, even on the bleakest of days. On Monday, the largest state funeral of my lifetime is being held in London. Over 2,000 dignitaries are expected to attend the funeral of Her Majesty, Queen Elizabeth II, in Westminster Abbey. The heads of state of Russia, Belarus, Afghanistan, Syria, Venezuela and Myanmar were not invited given current diplomatic “tensions”. While I completely welcome their exclusion from the global club of acceptability, it does highlight who was deemed acceptable to invite.
Representatives from China, Brazil, Saudi Arabia, Turkey, Iran, North Korea and Sri Lanka will all be in attendance, all of whom have shown a complete disregard for some of the core human rights that so many of us hold dear. Can you imagine the conversation between Bolsonaro and Erdogan? Or the ambassador to Iran and the vice president of China?
While I truly believe that no one should picket a funeral – the very idea is abhorrent to me – that doesn’t mean that there are no other ways of protesting against the actions of repressive regimes and their leadership, who will be in the UK in the coming days. In fact the British Parliament has shown us the way – by banning representatives of the Chinese Communist Party from attending the lying in state of Her Majesty – as a protest at the sanctions currently imposed on British parliamentarians for their exposure of the acts of genocide happening against the Uyghur population in Xinjiang province. This was absolutely the right thing to do and I applaud the Speaker of the House of Commons, Rt Hon Lindsay Hoyle MP, for taking such a stance.
Effective protest needs to be imaginative, relevant and take people with you – highlighting the core values that we share and why others are a threat to them. It can be private or public. It can tell a story or mark a moment. But ultimately successful protests can lead to real change. Even if it takes decades. Which is why we will defend, cherish and promote the right to protest and the right to freedom of expression in every corner of the planet, as a real vehicle for delivering progressive change.
Theatre censorship: An index reading list
Belarus Free Theatre’s Dogs of Europe in rehearsal. Photo: Mikalai Kuprych
Index on Censorship has always supported the theatre of resistance, and our Winter 2021 magazine even had this issue as its main theme.
In Belarus, for example, organisations such as Belarus Free Theatre are crucial to fighting Lukashenka’s ruthless regime. Playwrights in Turkey have also faced government censorship throughout history and have to find their way around it.
In the UK, theatre censorship was officially abolished in 1968, putting an end to over 200 years of control by the Lord Chamberlain. Countries like Brazil are also making things harder for the arts and theatre sector through a kind of financial censorship linked to ideological values.
Now, we explore the universe of theatre and censorship, looking back at pieces published in our magazine.
In this piece published in 2018, actor and director Simon Callow revisited the struggle to officially abolish censorship in theatre in the UK, which happened in 1968, after lasting for almost 200 years.
He explains why vigilance is still needed nowadays and writes about other forms of censorship, such as self-censorship.
In August 1980, Anna Tamarchenko wrote a piece about the strict and recurrent censorship in Russian theatre.
She exemplifies her point of view citing Russian plays that only hit the stage years after being written, such as Boris Godunov, first staged in 1870, 45 years after it was published. Alexander Pushkin, its author, had already passed away 30 years earlier.
“Under the Soviet regime censorship has gained new opportunities to exert pressure on theatrical life,” Tamarchenko wrote.
In this piece published in 1985, theatre critic Agnieszka Wójcik (pseudonym) dives deeply into the censorship and repression against student theatre in Poland, especially following the introduction of Martial Law in December 1981, when student theatre began to be considered a threat to public order.
“The repressions following December 13 therefore somehow ‘objectively’ defined the status of student theatre as suspect, if not downright illegal. After the banning of NZS (the independent student union) which had taken most student groups under its wing during the Solidarity period, they lost the foundations of their material existence,” Wójcik wrote for Index.
Why the Taliban wanted my brave mother dead…
For the 2021 Winter issue of Index magazine, Associate Editor Mark Frary reported on the play The Boy with Two Hearts, written by Afghan author Hamed Amiri and inspired by his memories of his mother’s campaigns for women’s rights and why they had to leave Afghanistan behind.
“When Hamed Amiri was 10 years old he watched his mother Fariba give a speech in his hometown of Herat, Afghanistan, speaking out for women’s rights and education and against the ruling Taliban. A day later, a mullah gave the order for Fariba’s execution and the family began a gruelling 18-month journey through Europe,” Frary writes.
Testament to the power of theatre as rebellion
In December 2021, critic, columnist and cultural historian Kate Maltby wrote about Belarus Free Theatre’s journey towards performing at the Barbican in London in 2022.
She talked to Nikolai Khalezin, playwright and journalist, and Natalia Koliada, theatre producer. Both founded Belarus Free Theatre in March 2005 and told Index about the rollercoaster they’ve been through after going into exile in order to escape from Lukashenka’s dictatorship.
“Since 2011, Khalezin and Koliada have held political asylum in the UK, a necessity for survival in the face of repeated harassment and imprisonment at the hands of Lukashenka’s regime”, writes Maltby.
Where silence is the greatest fear
Published in December 2021, this piece written by Issa Sikiti da Silva, Index contributing editor based in West Africa, looks at the censorship suffered by Kenyan theatre and how it has dragged under a series of corrupt leaders.
He also investigates the legacy left by colonial Britain in Kenya and how it still impacts theatre in the country.
“There was hope that Jomo Kenyatta’s ascension to the presidency in 1964 would help heal the wounds inflicted by the British and pave the way to tolerance, social justice, freedom and prosperity,” Da Silva writes.
God waits in the wings…ominously
Brazil is also home to its share of theatre censorship and free speech issues. In December 2021, Index’s editorial assistant Guilherme Osinski and former associate editor Mark Seacombe reported on a presidential decree that art must be sacred. They explored how it has affected Brazilian theatres across the country.
Osinski and Seacombe interviewed two Brazilian theatre companies, which shared their thoughts on president Jair Bolsonaro’s approach to art in Brazil, comparing the current situation to when the country faced a bloody dictatorship from 1964 to 1985.
“While the overt and ruthless censorship of the military dictatorship that ended in 1985 is now history, theatre today has to comply with a nebulous concept known as “sacred art” or be starved of public funds”, writes Osinski.
In August 1985, Professor Stephen Gray wrote for Index and explained how theatre in South Africa was shaped and controlled by the law, before this censorship was eventually relaxed and became less strict.
“Theatre itself is debate, and in South Africa, where sensitive issues ignite like flash-paper, to each show its own controversy,” Gray writes.
Play politics: policing theatre in Indonesia
At the beginning of the 1990s, Indonesia’s government had promised more openness and freedom for theatre companies in the country. However, president Suharto closed the doors on Jakarta’s popular theatre and other plays began to be banned across Indonesia.
Andrea Webster reported on that issue for Index in July 1991, emphasising the ironies between Suharto’s speech for democracy and the bans and curbs on theatres.
“The ban occurred just over a month after President Suharto himself made an Independence Day speech on 17 August where he spoke of ‘openness’ and democracy, where ‘differences of opinion had their place in Indonesian society,’” Webster wrote on the occasion.
In June 2019, then editor in chief of Index on Censorship, Rachael Jolley, interviewed actor Neil Pearson about why governments fear books being published and how the fight against theatre censorship still goes on.
Among many things, they discussed self-censorship and the boundaries between a play which is acceptably controversial and unacceptably controversial.
“If you are genuinely against censorship, you have to be evenhanded against censorship. If your idea of freedom of speech is only allowing people to say what you already agree with, then Goebbels would have no problem with that definition of speech,” Pearson told Index.
‘Humpty Dumpty has maybe had the last word…’
One of the biggest names in British theatre recently wrote for Index on Censorship. Sir Tom Stoppard, playwright and screenwriter and whose work covers themes such as human rights, censorship and political freedom, wrote in December 2021 on how the battleship over freedom still lies between the individual and the state.