[vc_row][vc_column][vc_video link=”https://www.youtube.com/watch?v=s-bKFo30o2o”][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]What does it mean to be a man? That has been the subject of many a song and is also the subject of the winter 2019 issue of Index on Censorship magazine, where we consider how leaders are using concepts of masculinity for their political gain and our free speech loss. While you’re reading the mag, have a listen to your playlist which features artists from Bob Dylan to Taylor Swift, who are all singing, one way or another, about the problems with macho men.
Enjoy the songs below. Hopefully the outspoken lyrics of women like Lily Allen and Shania Twain will leave you feeling more empowered than despondent.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]
When US President Donald Trump tweeted that he is “so great looking and smart”, Carly Simon’s classic take down of an unnamed man sprung to mind. Ditto every time we see Russian President Vladimir Putin’s appearing topless on a horse. But what are these mega egos doing to our rights? Editor-in-chief Rachael Jolley spoke to New York Times lawyer David E. McCraw about the state of media freedom in the USA under Trump.
“Macho, macho man! I want to be a macho man!” Is this what the current pack of male leaders listen to every morning? And do they also add their own words, like dominant, aggressive and infallible? For a more complete list of what they are like, how they are destroying our freedoms and how you can be a macho man too, read Rob Sears guide for the modern despot.
Brandon Flowers told NME in 2017 that the then-newly released single The Man depicted his attitude towards masculinity when The Killers started out, an attitude he now regrets. With lyrics including “don’t try to teach me, I got nothing to learn”, it’s easy to see why Flowers is glad to have grown out of such youthful notions. Unfortunately, the men who dominate world politics don’t seem to have matured out of their eagerness to be “The Man” and all that that implies. Case in point China’s Xi Jinping.
Irish rock band Thin Lizzy had a hit in 1976 with The Boys are Back in Town, a joyful ode to, well, boys being back in town. Its catchy melody means it’s still a feature on many party playlists, but delve into the lyrics and evidence of toxic masculinity is there. When the boys go out, “The drink will flow and the blood will spill, And if the boys want to fight, you better let ’em”. Kaya Genç reports on a rap collective in Turkey using music to take down that kind of ‘masculine’ behaviour men can exhibit.
While “lion man” is used with some irony by Mumford and Sons in this song, to show a man who hides his insecurities behind a facade of machismo, Brazilian President Jair Bolsonaro does not appear to exhibit any irony when he refers to himself as a majestic lion surrounded by hyenas, as he did last year. Stefano Pozzebon reports on the uphill battle faced by the Brazilian press to hold this lion to account.
Bob Dylan’s moving, acoustic attacks on macho world leaders sending young people off to spill their blood on the battlefield are timeless. “When the death count gets higher, you hide in your mansion” sings Dylan in Masters of War. Somak Ghoshal reports on India’s Prime Minister Narendra Modi, who is a fervent patriot with a strong war cry.
Macho leaders are eager to impress, whether it be to their citizens in a bid to maintain fearful respect and loyalty or fellow world leaders who they want to come across as heads of powerful states not to be underestimated. What would Canadian powerhouse Shania Twain say? If this song is anything to go by, they don’t impress her much. Arrogant intelligence, vanity and fast cars are all big no-nos, and we’d assume draconian policies and the quashing of free expression are too. It’s bad news for Tanzania’s “Bulldozer” President Magufuli.
Did Lily Allen write her song Fuck You with Hungarian prime minister Viktor Orbán in mind? The song takes aim at small-minded, hate-filled, racist homophobes, with lines like “So you say it’s not OK to be gay, well I think you’re just evil”, which could be one way to address a leader whose party continues to assault gay rights by promoting “family values” that exclude LGBT people.
Taylor Swift captures the inequalities between the sexes in The Man, her song about the respect she would get if she was a man for the same actions that result in criticism for a woman. Female journalists could sing the same song, often being targeted as much for their gender as for their words. Miriam Grace Go reports on Philippines’ President Rodrigo Duterte, for example, and his explicit denigration of female journalists and politicians.
No-one writes a protest song quite like Pussy Riot, the Russian feminist punk rock group. In October 2016, two weeks before Donald Trump was elected as US president, they released Make America Great Again, a dystopian vision of the USA under Trump. Lyrics include “Can you imagine a politician calling a woman dog?” Unfortunately, we don’t have to imagine this as it’s become all too real. Caroline Lees reports on how world leaders are using slurs to undermine their opponents in a trend that appears to be getting worse.
Zehra Dogan, winner of the 2019 Index on Censorship Freedom of Expression Award for Arts, is a Kurdish painter and journalist. She was released from prison on 24 February 2019 after almost 600 days in prison in Turkey, during which she was denied access to materials for her work. She painted with dyes made from crushed fruit and herbs, even blood, and used newspapers and milk cartons as canvases. When she realised her reports from Turkey’s Kurdish region were being ignored by mainstream media, Dogan began painting the destruction in the town of Nusaybin and sharing it on social media. For this she was arrested and imprisoned. During her imprisonment, she refused to be silenced and continued to produce journalism and art. She collected and wrote stories about female political prisoners, reported on human rights abuses in prison, and painted despite the prison administration’s refusal to supply her with art materials.
Dogan also received the 2019 May Chidiac Foundation Award for Exceptional Courage in Journalism. She accepted the prize in Lebanon where she dedicated the prize to the people of Rojava. Dogan also featured at an exhibition at The Drawing Center in New York entitled The Pencil Is a Key by Incarcerated Artists which will feature drawings by incarcerated people from all over the globe. The exhibition will run until 5 January 2020.
Dogan’s first book, Nous aurons aussi de beaux jours – Écrits de prison (We will also have beautiful days – Writings of prison), a collection of her letters from prison during the 600 days she spent in detention, was released on 31 October 2019. From 6 to 23 of November, works by Dogan will go on display at Galerie des Femmes in Paris as part of her exhibition Œuvres Évadées (Escaped Works).
We caught up with Dogan to find out what she has been working on since winning the Index on Censorship award in April 2019.[/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:1574072523308-d110cf72-f9a9-3″ taxonomies=”22555″][/vc_column][/vc_row]
[vc_row][vc_column][vc_column_text]Badiucao is a Chinese cartoonist whose provocative work has made him persona non grata with the Chinese government. As a result, he currently lives in exile in Australia, although that distance has not stopped him being the target of Chinese authorities.
His bold artwork homes in on the areas the Chinese government would rather not talk about. Tiananmen for example, alongside critical work on the current leader Xi Jinping. And his life is now the subject of a recently released documentary by filmmaker Danny Ben-Moshe, China’s Artful Dissident, which charts the road to an exhibition of his work in Hong Kong. Click here to read about our private screening of the film and our Q&A with Badiucao.
You can help support the artist and free speech more widely by purchasing your own exclusive Badiucao print. All proceeds will go to the artist. If you are interested in purchasing any of the pieces below, please email [email protected]
[vc_row][vc_column][vc_single_image image=”110170″ img_size=”full” add_caption=”yes”][vc_column_text]“Every Hong Kong protester is my biggest inspiration. You guys think I am brave? Those young kids, 16 and 17 years old, are risking their lives at every protest. They are the people who inspire me, they are the people who motivate me to do more work to share their story with you guys.” These words, from the Chinese dissident artist known as Badiucao, were met with rapturous applause from the audience at the private screening of the new documentary about his life, China’s Artful Dissident.
The invitation-only screening was held at the Tate Exchange and hosted by Index On Censorship. Badiucao, who until recently had kept his identity a secret in an attempt to protect himself and his family from the Chinese government, was present, alongside the filmmaker Danny Ben-Moshe.
The film cannot fail to move and inspire. It documents Badiucao’s move into political activism after watching a documentary about the Tiananmen Square massacre, the details and death toll of which the Chinese government has done its best to suppress, and his move to Australia in 2009 to escape the censorship and artistic oppression in China.
The last part of the documentary shows the lead up to an exhibition of Badiucao’s work in Hong Kong. It ends on a heartbreaking note when the exhibition is cancelled following threats to Badiucao’s family in China. This was the reason Badiucao revealed his identity; it became clear that the Chinese government had already discovered it.
The screening was followed by a Q&A with Badiucao and Ben-Moshe, chaired by Martin Rowson, the political cartoonist and regular contributor to Index on Censorship magazine. Responding to a question about his safety in Australia, Badiucao described it as “a problematic country” and that he may have been naive to think he could entirely escape the influence of Beijing.
“Australia can be an example of how China is projecting its threat all over the world,” he said.
Addressing current counter-protests from the Chinese diaspora specifically, Badiucao said:
“You have to remember that when we grow up in China, we grow up with an entire machine of propaganda, it will take a very long time for people to walk out of this shadow.”
He expressed concern that people may view the Chinese population, the counter-protesters in particular, as brainwashed, aggressive nationalists who don’t deserve democracy.
“As a consequence, the far right will rise, xenophobia will rise, discrimination will rise, racism against China will rise. Ultimately this solution will not solve the problem, it just pushes the Chinese back to Beijing.”
Badiucao’s career goal, he explained, is to destroy censorship using art. He said: “I’m very proud and honoured that my work is recognised and used by the Hong Kong protesters.” He also said that his art is a way to record history to act as counterpoint to the Chinese government, who rewrite history.
Badiucao is now living in Australia and having revealed his identity, he is followed, sees strange cars outside his home and receives daily threats via social media. He made light of those that daily detract him.
“We call them 50 cent, because when they send me a death threat, they get 50 cent deposited into their bank accounts,” he said of China’s infamous trolls.
All of this is the price he pays for simply expressing himself through his art.
Click here to read more about Badiucao and to see an exclusive cartoon of his in the new magazine[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
You’re So Vain – Carly Simon