Malaysian cartoonist Zulkiflee Anwar Ulhaque, aka Zunar, was arrested on 26 November under the Sedition Act for his cartoons which are deemed insulting to the country’s prime minister Najib Razak.
The artist was questioned under the penal code under suspicion of intentionally humiliating a person. He was released the next day.
“Even though I have been released, the harassment from the Malaysian government is far from over. I have to report back to the police in Penang on 27 December 2016 for further investigation. And yesterday (26 November), two peeple who assisted me in organizing the exhibition were also called up by the police for questioning,” the cartoonist said in a statement.
On 25 November Zunar was forced to end his three-day exhibition after only a few hours when a group of “pro-government thugs,” believed to be a part of the United Malays National Organisation, physically assaulted the cartoonist and damaged his displayed work. “They pulled my shirt and threw a punch at me,” Zunar told Index, “but people came and rescued me.”
The Malaysian government has long attempted to silence the cartoonist, who currently is awaiting trial on nine charges of sedition, which carry a potential 43-year jail term, for his cartoons government-critical cartoons. The trial is set for 24 January 2017 and Zunar is currently on bail.
A travel ban was placed on Zunar on 24 June of this year but was Zunar only became aware of the limitation when he was held by immigration police at the Kuala Lumpur International Airport when attempting to leave Malaysia on 17 October.
Zunar has been arrested twice before, once for two days in 2010 for publishing his book Cartoon-O-Phobia, and again for three days in 2015 for violating the Sedition Act.
The Sedition Act, which was put in place to silence opposition to British colonial rule in 1948, has become a popular way for the Malaysian government to silence critical voices such as Zunar. The award-winning cartoonist has been challenging the law for years.
“I can smell that the 10th charge of the Sedition Act is on the way. I am already facing 9 charges under that draconian act and the trial is set to be on 24 January 2017,” Zunar said.[/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:1480410671694-9cbae1a6-e66d-2″ taxonomies=”4218″][/vc_column][/vc_row]
Update: Since this article was published, Zunar has been arrested on charges of sedition.
Zulkiflee Anwar Haque, aka Zunar, a Malaysian political cartoonist, continues to face harassment from the government and its supporters due to his work.
His cartoons and books have previously been banned and confiscated for being allegedly “detrimental to public order”, he is to stand trial on nine charges of sedition in January, which carries a 34-year sentence if he is convicted, and he is currently banned from leaving the country.
Earlier today a mob of 30 people – who he called “pro-government thugs” – surrounded him at the opening of his new exhibition of satirical cartoons, threatened him and damaged some of his artwork.
“They were very hostile for the first 20 minutes because I was alone with friends,” Zunar told Index. “They pulled my shirt and threw a punch at me, but people came and rescued me.”
As the situation became more unmanageable, police were called in, followed by riot police, to contain the mob. No arrests were made.
“I was very scared but I stayed calm – I didn’t react,” Zunar added.
The exhibition had only been open for a few hours before being forced to close. Zunar has taken the decision to close the exhibition permanently due to safety concerns and told Index he will seek more secure locations for future exhibitions.
Such attacks are becoming more common in Malaysia, as being in opposition to the government becomes ever-more difficult. Last week a similar crowd interrupted a speech by the opposition MP on Khalid Samad on the grounds of the county’s Parliament.
Last Friday, on the eve of a massive Bersih protest in the Malaysian capital of Kuala Lumpur, the activist Maria Chin Abdullah was arrested, prompting many thousands of people to take to the streets in yellow t-shirts to demand her release.
Protesters are also calling for free and fair elections and for the Malaysian Prime Minister, Najib Razak to resign.
“The Malaysian government is now a minority government, with the ruling party only receiving about 47% of the popular vote,” Zunar explained. “So the Malaysian government will now do anything they can to ensure they remain in power, including fostering and supporting this kind of chaos and attack pro-democracy activists.”
Talking about his upcoming trial – which was due to take place back in November 2015 – Zunar said: “I don’t put any hope in the system. I would like to highlight again that this is politically motivated. It’s not about the strength of the evidence against me, it’s not about how good the witnesses are, in Malysia it depends on the judges. And if we are lucky enough we will find one or two independent judges – that is the best we can hope for.”
Zunar is more than willing to stand trial, however, to highlight the abuses of freedom and democracy in Malaysia for all the world to see.
In the meantime, as ever, he will continue to draw.
What we do Freedom of expression is under attack. Everywhere you turn, powerful forces - whether driven by money or wielding authority - are trying to silence us. And with every passing day, the threat grows stronger. But for over 50 years, Index on Censorship has...
Battle of Ideas 2016 A weekend of thought-provoking public debate taking place on 22 and 23 October at the Barbican Centre. Join the main debates or satellite events.
Comedy and censorship: Are you kidding me? Is the fear of offence killing comedy? Jodie Ginsberg, Timandra Harkness, Will Franken, Tom Walker and Steve Bennett with chair Andrew Doyle.
From hate speech to cyber-bullying: Is social media too toxic?
What of the free speech of those harassed into silence by a stream of abuse? And what of the abuse itself, consisting, as it so often seems to, of fantasy punishments and name-calling? Is that speech worth defending?
I remember the happy clowns of my childhood when the family would sit in front of the TV during the festive holidays to delight at the magnificent performances of the colourful pranksters in Billy Smart’s Christmas Circus.
This sensibility of the clown as the fool, the butt or object of ridicule, loveable but sad, hiding a deep melancholy beneath the exaggerated forced smile was prevalent throughout the twentieth century and was a muse for poets and artists such as Picasso, Bruce Nauman and Uno Rondinone.
The image of the clown changed as I grew older. With glam rock in the 1970s came Leo Sayer’s clown phase and David Bowie’s Lindsay Kemp phase, which re-surfaced in his video for Ashes to Ashes.
But why has the clown now leapt from the realms of the circus, pantomime and contemporary art into our everyday reality? It may the lead up to Halloween but in suburban America the craze of the “creepy” or “killer clown” has reached hysterical proportions. Unsettling, scary individuals dressed as clowns are reported across the media in the USA terrorising the public.
According to Time the craze began in South Carolina in late August where clowns were allegedly spotted trying to lure children into the woods. These reports were unsubstantiated but through meme culture and the media, the frenzy has now gripped the UK. The hysteria has led to lynch mobs hunting down clowns and the banning of clown suits. I have friends and family who told me that school authorities have sent letters, emails and texts to parents warning them about clowns. A policeman even came to visit a school asking secondary school pupils to be on alert.
With the school authorities and the law further whipping up a moral panic about psychotic clowns on the loose, it’s no wonder that children with highly fertile imaginations are spooked and parents are feeling anxious. One twelve-year-old girl daren’t leave the house and sleeps in her parents’ bed. This story has become a familiar one. The panic has even led to the cancellation of a theatre group, The Clown Doctors (the actors wear red noses), who were due to perform in a children’s hospital in Newcastle because “the hospital security said they had been placed on a local hit list for the killer clown craze”.
Fancy dress shops have been asked by the police not to sell clown costumes to anyone suspicious and the NSPCC’s Childline received more than 120 calls from worried children. Instagram, Facebook, Twitter and online news services are awash with impending doom that killer clowns are on the rampage in our communities. What the hell is going on?
Of course, young people love playing pranks on each other but any adult trying to scare children out of their wits by chasing them, or lurking in dark areas, shouldn’t be surprised if they get a punch on the red nose. However, proactively hunting down creepy clowns is stretching the horror narrative a step too far.
Clowns are ambivalent figures where sadness and humour intermingle, but as with most romantic dispositions, there is a dark side to the persona. French Romantic Poets such as Theophile Gautier, Gerard de Nerval and Charles Baudelaire imagined a dark transformation from the happy face/sad visage of the Pierrot to a more tragic figure: “The mask began to give way to reveal a skull beneath, the presence of death.”
The transformation of the clown into the grotesque is indicative of the times we live in. We increasingly feel powerless, disconnected, anxious, paranoid, traumatised, in need of being protected, triggered by certain books, films, art and speech that make some people feel uncomfortable. In this world the clown has become the bogeyman, the outsider, the anti-social, anti-establishment figure of imminent doom, rather like Heath Ledger’s mesmeric portrayal of the nihilistic, terrorist Joker in Christopher Nolan’s The Dark Knight.
This clown’s performance of terror in our everyday lives reveals the growing breakdown of public space as civil, social space. Sociality, the sphere of social intercourse, and sodality – the sense of fraternity and belonging to community in deep and multiple ways – are eroded and replaced by narcissistic attention seeking, exhibitionist tendencies.
The “killer clown” meme is the extreme selfie, demanding that we look at them, that perhaps beneath the grotesque clown mask he or she may have some hidden depths of quality, but sadly that is not the case. They are simply creeps.
Having said that, social media and public space should allow for a multiplicity of expressions. The tiny minority of extreme, aggressive clown’s performing outside of the frameworks of art, theatre, film, circus, the internet and Halloween cannot scream victimhood if they are given a hiding for being deliberately anti-social. However, most of the menace seems to be hyped up via meme culture, the media, hearsay and unsubstantiated stories. It’s how urban myths are created and the craze will eventually die down and fade away.
The greater question we should be asking ourselves is how is it that children, young people, adults and the authorities alike have come to be gripped by this public performance of perceived terror?[/vc_column_text][vc_basic_grid post_type=”post” max_items=”4″ element_width=”6″ grid_id=”vc_gid:1485724639176-d1dda485-42a7-8″ taxonomies=”8826″][/vc_column][/vc_row]
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