1 Nov 2024 | Egypt, Hong Kong, Iran, News and features
Hello, readers. This week, the news in the UK has been dominated by the Budget, alongside anticipation of next week’s USA presidential election. Whilst a lot of media attention has been focused on the Chancellor’s number crunching, the Prime Minister also started the week with a proclamation of the importance of press freedom.
Writing for The Guardian on Monday, in an article coinciding with the News Media Association’s week-long Journalism Matters campaign, Keir Starmer vowed to protect journalism, the “lifeblood of our democracy”, and stressed the vital role of the media in holding politicians such as himself to account. “And yet this is not a given. All around the world, journalists put themselves at risk in defence of those values,” he wrote, paying tribute to press who have been killed or detained whilst operating in war zones and authoritarian regimes.
It’s heartening to see this strong defence of free speech from the Prime Minister. But around the world, we are still seeing prisoners of conscience imprisoned for simply speaking their mind, some of whom have British citizenship.
This week marked the two-year anniversary of the arrest of Toomaj Salehi, an Iranian rapper who refused to stop singing his political protest songs criticising Iranian government policy. He was sentenced to death on 24 April 2024, and while this has thankfully been overturned, he remains behind bars. This week, his cousin Arezou Eghbali wrote a piece for Index, calling on the international community to demand his release.
Perhaps one of the most high-profile cases of unjust imprisonment overseas is that of British-Iranian national Nazanin Zaghari-Ratcliffe. Spending nearly six years in detention in Iran, her situation was made worse by false comments made by former foreign secretary Boris Johnson about the purpose of her visit to Iran. You can read an article from Zaghari-Ratcliffe below, where she calls for the release of Salehi.
Then there is Alaa Abd el-Fattah, an Egyptian-British software developer and pro-democracy political activist, who was due to be released following a five-year prison sentence in Egypt on 29 September, yet remains behind bars. His family have spoken out about the lack of government support he has received, and his mother is currently on hunger strike. “I’m keeping it up until Alaa is free or I’m taken to hospital in a terrible state,” she told the BBC last week.
When he was shadow foreign secretary, David Lammy criticised the Conservatives and called for “serious diplomatic consequences” if Abd el-Fattah was not granted a consular visit and ultimately freed – but since becoming Foreign Secretary, he has not raised the case publicly. A Foreign Office spokesperson told the BBC that the government is prioritising his release: “We continue to raise his case at the highest levels of the Egyptian government.”
Another British citizen who remains behind bars is Jimmy Lai – a Hong Kong political figure and activist, who was arrested in 2020 for fraud and involvement in pro-democracy protests. Whilst Starmer has said that securing his release is a “priority”, Lai’s lawyer has criticised past and current governments, and says that David Lammy has failed to meet with herself or Lai’s son to discuss the matter. She says that David Cameron is the only foreign secretary of the past five to meet with Lai’s legal team. “This is a disappointing and flawed approach that stymies crucial efforts to free Jimmy Lai and fundamentally undermines the government’s official position that he must be released,” she told the BBC.
As we mark two years since Toomaj Salehi’s arrest, we reflect on all the political prisoners globally who have been unjustly punished for challenging their governments or speaking out against injustice. In doing so, we return to Starmer’s optimistic statement about championing free speech and ensuring politicians are held to account. Let us hope his new government uses this rhetoric and its diplomatic power to fight for its citizens around the world.
24 Sep 2024 | News and features
Banned Books Week is here once again. And so too are more stories of books being censored across the world. This week, Pen America reported that the number of book bans in public schools has nearly tripled in 2023-24 from the previous school year.
While the week-long Banned Books Week event, supported by a coalition including Index on Censorship, looks largely towards bans in the USA, we’re taking a moment to reflect on global censorship of literature. We asked the Index team to share what they think is the most ridiculous instance of book censorship, from the outright silly to the baffling but dangerous. Some of these examples verge on amusing — the Chinese Communist Party (CCP)’s aversion to talking animals, for example — but the bans that have ended in attempted murders just go to show that the practice of book banning itself is completely nonsensical, and can lead to real harm.
Banned Books (Photo by Aimée Hamilton)
Too many talking animals
You don’t have to have children to imagine what a clichéd kids book might look like. Yes, you’ve guessed right – animated animals. Tigers, mice, dogs – they’re all common in children’s literature. But the Chinese authorities have an uncomfortable relationship with our furry friends.
In 2022 a Hong Kong court sent five people to prison for publishing a series of books called Sheep Village (and of course they banned the books too). To be fair these illustrated books, aimed at kids aged four to seven, didn’t code their political messages well: a flock of sheep (stand-in for Hong Kongers) peacefully resist a savage wolf pack (the guys in Beijing). So this might not be the most absurd example, though it did feel like an absurdly low moment.
However, what was clearly absurd on all levels was the 1931 ban of Alice in Wonderland by the governor of Hunan Province. The book’s crime? Talking animals. Apparently they shouldn’t have used human language and putting humans and animals on the same level was “disastrous”. What unites the CCP with the Republic of China that came before it? Unease around anthropomorphised animals it would seem.
Too many banned books
Ban This Book by Alan Gatz, a book about book bans, has been banned by the state flying the banner for banning books. This is not a tongue twister, riddle or code. It is the crystallisation of the absurdity of banning books.
In January 2024, the book was banned in Indian River County in Florida after opposition from parents linked to Moms for Liberty. According to the Tallahassee Democrat, the school board disliked how the book “referenced other books that had been removed from schools” and accused it of “teaching rebellion of school board authority”. When you are trying to reshape the world in line with your own blinkered view it is probably best not to draw attention to it by calling out reading as an act of rebellion. Just a thought.
The book tells the story of Amy Anne Ollinger’s fight to overturn a book ban in her fictional school library. The book’s conclusion leads Amy Anne “to try to beat the book banners at their own game. Because after all, once you ban one book, you can ban them all”.
This tells us something – the self-harming absurdity of book bans is apparent to kids like Amy Anne but not to the prudish administrators and thuggish groups wielding their mob veto like a weapon. Groups like Moms for Liberty and their fellow censors obscure the darkness of our shared history by removing any reference to it and by pretending it did not happen — not by addressing the root causes or working to ensure it does not happen again.
- Nik Williams, policy and campaigns officer
Too Belarusian
In Belarus, numerous books in the Belarusian language by the country’s best classical and modern writers have been banned, especially following the 2020 presidential election and pro-democracy protests. Unbelievably, Lukashenka’s regime — often called the last dictatorship in Europe and backed by Russia — views Belarusian historical, cultural and national identity as a threat.
Many books in Belarusian have been labelled extremist and even destroyed from the National Library’s collection since the protests started in August 2020. This includes Dogs of Europe by Alhierd Baharevich, works by 19th century writer Vincent Dunin-Marcinkievich and 20th century poet Larysa Hienijush, among others.
- Jana Paliashchuk, researcher on Index’s Letters from Lukashenka’s Prisoners project
Too decadent and despairing
Franz Kafka’s The Metamorphosis, possibly the greatest short story ever written, was banned by both the Nazis and the Soviets. Being a Jewish author, the Nazis burned Kafka’s books on their “sauberen” (cleansing) pyres. But in the Soviet Union, his books were banned as “decadent and despairing”. This was clearly a judgement made by officials without much knowledge of the history of the novel, where so many titles are filled with human despair. Without these, we would not get the contrasting light of decadent writers like Oscar Wilde and JK Huysmans.
- David Sewell, finance director
Too mermaidy
One of my favourite books to read with my son is Julian is a Mermaid by Jessica Love. It’s a beautiful picture book where a young boy dreams of becoming a mermaid after seeing a school / pod (collective noun to be determined) of merfolk on the way to the Coney Island Mermaid Parade, then rummages around his nana’s home for a costume.
In various parts of the USA, Julian has been banned. In a school district in Iowa, it was flagged for removal under a law that “bans books that depict or describe sex acts”, which apparently also covers gender identity — there are definitely no sex acts in this book. In other districts, it’s been fully banned due to representing the LGBTQ+ community.
If book banners in the USA are really worried about kids becoming mermaids, then I’d like to know on what grounds. Because, quite frankly, I always wanted to be a mermaid, and if it turns out it was a viable option, I have some regrets. Personally, I’d be more concerned about Julian ripping down his nana’s curtains to make a tail, à la Julie Andrews making costumes for the Von Trapp children.
- Katie Dancey-Downs, assistant editor
Too accurate
In Egypt, Metro, the country’s first graphic novel by Magdy El Shafee, was quickly banned after publication in 2008 for “offending public morals”. This was likely due to the novel’s depiction of a half-naked woman, inclusion of swear words and general portrayal of poverty and corruption in Egypt during the former president Hosni Mubarak’s 30-year rule. The author was charged under article 178 of the Egyptian penal code for infringing “upon public decency” and fined 5,000 LE. It was eventually republished in Arabic in 2012.
- Georgia Beeston, communications and events manager
Too dystopian
Aldous Huxley’s 1932 dystopian classic Brave New World explores an imagined future centred on productivity and enforced “happiness” at the expense of individual freedom. Set in 2540, society has been stripped of families, with babies manufactured synthetically with specific characteristics, then forced into a predetermined “caste” system. People are encouraged to prioritise short-term gratification through casual sex and taking a “happiness” drug called soma, making them blissfully unaware of their imprisonment within the system.
Since its publication nearly 100 years ago, the novel has caused controversy globally. It was initially banned in Ireland and Australia in 1932 for eschewing traditional familial and religious values, then later banned in India in 1967 for its sexual content, with Huxley even being referred to as a “pornographer” for depicting a society that encourages recreational sex. It is still banned in many classrooms and libraries across America for a range of wild reasons, from use of offensive language and sexual explicitness to racism and “conflict with a religious viewpoint”.
But Huxley’s imagined future is one of horror. He uses themes of enforced, unfettered pleasure and a twisted genetic-based class system to express how humans’ complex problems and moral quandaries cannot be solved by scientific advancement alone. The main point of dystopian fiction is to tell a cautionary tale of the levels of exploitation that society could sink to, in order to save the world at large. While it was undoubtedly shocking and crass for its time, the fact that Huxley’s novel still ruffles feathers reveals a complete misunderstanding of allegory.
Too many lesbians
I first read Radclyffe Hall’s legendary lesbian novel, The Well of Loneliness, published in 1928, with bated breath as a young, closeted queer person. Her portrayal of young woman ‘Stephen’ Gordon and her romance with Mary Llewellyn was wildly liberating and satisfying to read. Of course, as a product of its time it is in many ways outdated and of course laced with problematic values, for example biphobia and misogyny. But it was hugely important in terms of normalising queer relationships over a century ago.
Shortly after publication, the book went to trial in Britain on the grounds of “obscenity” and was subsequently banned — but this is no Lady Chatterley’s Lover. There are no real ‘hot under the collar moments’. The only ‘obscenity’ was the portrayal of two women in a romantic relationship, even though (unlike male homosexuality), lesbianism wasn’t actually illegal in 1928.
- Anna Millward, development officer
Too friendly
The award-winning writer and painter Leo Lionni’s first children’s book Little Blue and Little Yellow (1959) is a short story for young children about two best friends who, one day, can’t find each other. When they meet again, they give each other such a big hug that they turn green.
Despite its important message about the power of love and friendship, the mayor of Venice decided to ban it from all preschools in the province for “undermining traditional family values”. It was one of more than 50 children’s books to have been banned just days after he took up the post after his election in 2015.
- Jessica Ní Mhainín, head of policy and campaigns
Too uncensored
As ironies go, the banning of Ray Bradbury’s Fahrenheit 451 may be the strangest. The novel describes a dystopian future in which books are banned and “firemen” burn any that are found – its title comes from the ignition temperature of paper.
In 1967, a new edition of the book aimed at high schools, known as the Bal-Hi edition, was substantially altered to remove swear words and references to drug use, nudity and drunkenness. Somehow, the censored text came to be used for the mass-market edition in 1973 and “for the next six years no uncensored paperback copies were in print, and no one seemed to notice”, wrote Jonathan R. Eller in the introduction to the 60th anniversary edition of the book.
Readers eventually realised and alerted Bradbury. He demanded that the publisher retract the censored version, writing that he would “not tolerate the practice of manuscript ‘mutilation’”.
- Mark Stimpson, associate editor
Too unflattering
It’s not altogether surprising that UK authorities attempted to prevent the autobiography of former MI5 officer Peter Wright, Spycatcher (co-written by Paul Greengrass), from hitting the shelves. The book did not present British intelligence agencies in a flattering light, and the government’s claims that they were suppressing its publication in the interests of security — rather than to save face — were eventually dismissed by the courts.
However, the ridiculous part about this book banning was that it only applied to England and Wales and the book was freely accessible elsewhere — including Scotland. This led to an absurd situation where newspapers around the world were reporting on the book’s contents while the press in England was subject to a gagging order, despite the information having already been revealed and books being easily shipped into the country. The ban was eventually lifted after it was acknowledged that the book wasn’t exposing any secrets due to its overseas publication.
- Daisy Ruddock, CASE coordinator
Too blasphemous
The most absurd book banning is also, arguably, the most serious in recent history. The Satanic Verses by Salman Rushdie was published in 1988 to deserved critical acclaim. It is a playful and complex novel that examines, among other things, the origins of Islam. The death sentence imposed on the author by Iran’s supreme leader Ayatollah Khomeini was fuelled by, and in turn itself fuelled an ideology that believes that a novel can be blasphemous and its author should be killed. It would be laughable if the consequences weren’t so deadly.
- Martin Bright, editor at large
2 Aug 2024 | Israel, Middle East and North Africa, News and features, Palestine, Volume 53.02 Summer 2024
They emerge very slowly from a black hole in the background. Men and women, their faces tired, all take heavy steps. Some are dragging a bag, others have mattresses and household objects. The stage is lit in green and red, illuminating the young actors and dancers one by one, emphasising their individual suffering. The music – rapper Hijazi’s remix of the traditional Palestinian choral song Tarweeda Shamaly – repeats in a hypnotic loop to tell us that, for 70 years, the story of Palestinians has always been the same: moving forward in an exhausting and constantly uprooting process. The Palestinians call it Nakba and this dance-theatre show named The Story is Sick by the Ayyam al Masrah company, the only one active in the strip, was performed just over a year ago live in Gaza. It was a performance like no other which I saw on a reporting mission to the strip. Today it seems to rise again in tragic reality, after 7 October 2023.
The theatre has been destroyed now and no longer exists. The cast and crew have paid a horrific price for living in Gaza. Of the company’s 20 or so actors, aged between 20 and 35, many are displaced in Deir al-Balah. Only one, the stage technician, Ahmad Gheidar, decided to stay in Gaza, risking his life; a couple of actors, Mohannad and Lina, got engaged, left Gaza and did everything they could to escape to Egypt; three have died with all their families. None of the members of the company have a home to return to; their houses are all destroyed. The only thing left to the actors of Ayyam al Masrah is theatre, as the artistic director of the company, Mohammed al-Hessi recalls, constantly disturbed in the background by the buzz of Israeli drones.
For al-Hessi himself it was unimaginable that one of the play’s characters – a Palestinian, forced to abandon his home in 1967 and wander through refugee camps in the region – would be his reality a year later. Displaced from Gaza City after the Israeli bombings of November 2023, he and his wife and three daughters are searching for a fourth refuge, after Khan Younis, Deir al-Balah and Rafah.
“I am very worried,” he told Index in a series of daily voice messages that continue a dialogue that has already lasted more than six months. “There are thousands of people who continue to move by cars and donkeys like us. After being shot in the back and miraculously unharmed, I spent two months on Rafah beach in al-Mawasi. Here, at times I hoped to end it all. The cold in February was excessive and we tried to survive by somehow diluting the salty sea water for drinking. I was morally destroyed by the impossibility of giving a dignified life to my wife and my daughters, but I didn’t believe I would be forced to move again and again to get away from the bombings that reached us as far as the south of the strip”.
Al-Hessi’s fate is also that of a man unafraid to speak truth to power: inconvenient for Israel, to the point of not being able to leave Gaza for seven years now, because he raises political issues in his plays and is not afraid to highlight the impact of the Israeli occupation on Gazans’ daily life; inconvenient for Hamas because the theatre company has been the only one on the strip since 1995 that does not bow to the local powers that be. He has challenged Hamas’s moral police by putting men and women on stage as couples and has had the courage to question the Islamic values on which daily life is based, stimulating debate among spectators. In the audience, men and women sit together, next to each other, condemned by Hamas authorities as a dangerous potential for “promiscuity”.
In Gaza City, the success of The Story is Sick was so overwhelming when it was first staged in February 2023 that the number of performances was doubled to 40. “People loved our show because it manages to generate a great debate between the public and the actors,” al-Hessi told Index proudly. “After the performance everyone asks questions, as if looking for a solution. And the theatre has always been full: those who saw the show brought other people, students, associates. At the debut there were 350 people in the room and there were people waiting outside, sitting on the stairs.”
For those who attended the play last spring, the atmosphere was alive with debate, pulsating even. From the stands, many were wondering about the weight of tradition on family relationships and how the Israeli occupation and segregated life on the Gaza strip made the patriarchal system and male-female dynamics more burdensome and complicated.
Hana Abd al-Nabi, a lively and dynamic actor in the company, wrote the script of The Story is Sick together with the artistic director. She explained: “In this show we faced a new challenge: it was the first year in which we added male figures to the narrators on stage because we had always entrusted the role of the narrator to a female voice and body. The audience so far had not been mixed but was mostly female only.
“We then inserted male characters into the show and encouraged the presence of young men in both to change their point of view on the topics treated in our comedies. The female character tells the story from her point of view, and the male character tells the same story from his point of view. As an author I had to split between genders: if I were a man, would my wife say a certain thing, and would she complain in a certain way? And what would I do if I were a woman? And who would be right between the two? On stage, with respect to individual stories, both genders – man and woman – are right, each from their point of view. Actually, we still find ourselves trapped in the same cultural and social pattern, from the era of the Arabian Nights to the era of social media, where our entire lives, even private, are discovered, exhibited.”
The project started with a workshop between 23 actors to understand how to tell a story. The cast of Ayyam al Masrah had gathered the voices of three generations of Palestinians from Jaffa, Haifa and all of historic Palestine. Stories of the first Intifada, the second, and life today. Stories of couples who got married or who lived together or who had a love story. Each actor brought six stories. “In this journey,” said al-Hessi, “we saw something happen in front of us: in this story of the Palestinian people there was something sick. From 1948 to today, love and life have progressively disappeared. And we saw that the future in the eyes of the young was already broken, and that each of us was torn to pieces. We saw how each event – an intifada, an offensive, a siege – had an increasingly worse effect on social life. In the difficulties of everyday life, in looking for a job, in family life: even love stories have disappeared.”
The only moment al-Hessi smiles is when he talks about his workshops in refugee camps: “Our first show in 1995 was called Mothers. 200 women came to see it, and a long discussion started there too. Instead of an hour we stayed there for three hours because all the women wanted to talk. From there we started our storytelling programme for women. Now I have built a 20-minute show that stages our displacement in which women are once again the main characters and we will have three female actors on the stage. And I wrote another script, and I have three male actors on stage: it is a show tailored to the needs of children up to 12 years of age.”
Al-Hessi’s recipe is simple. At the end of the day, his bread is life: tragic, absurd, unexpected, constantly balanced between the grimace of pain and the laughter of survival.
19 Jul 2024 | Middle East and North Africa, News and features, Syria
On a summer evening in June 2000, the Syrian official television channel interrupted its regular broadcast and announced the death of the country’s then President Hafez al-Assad.
The screen turned black, declaring a 40-day official mourning period, during which television viewers were subjected to programmes about the accomplishments and heroism of the deceased president.
News was all but suppressed for weeks. Added to that, it later became clear that the president had been dead for some time before it was even reported on TV.
Mohamad Mansour, editor-in-chief of the al Arabi al Qadeem website and a former employee of Syrian television said: “We must remember the state of confusion and caution that prevailed at that time. Media workers hesitated until they received orders to announce the death; I even remember one department head at the television channel presenting a film about animals, leading to his dismissal as the authorities considered it an insult to Assad.”
Delaying the announcement of disasters, misfortunes, and deaths had been the standard approach by the Syrian regime for decades, but when Assad’s son Bashar replaced his father that changed: the rapid dissemination of news, even about people in government inner circles, became the norm.
And now, it’s changing again. Controlling when and how news is released is increasingly becoming the norm and some are suggesting this is an ominous sign of growing Russian influence in state affairs.
The latest sign of this was when the president’s closest adviser, Mrs Luna Al-Shibil, was involved in a car accident. She died from her injuries a few days later. While the Syrian independent media waited only a few hours to announce the accident involving Al-Shibil, it was days later before her death was officially confirmed by the government.
Journalist and activist Mostafa Al-Nuaimi believes that the Syrian regime today is resorting to a policy of denial just as it did in the past.
He told Index, “With the presence of social media and the presence of international intersections and multiple decision-making circles within its state, it sometimes has to disclose information that does not align with the mentality with which it governs the country. ”
Al-Nuaimi, who has closely followed the Arab Spring revolutions, believes that this all heralds a new phase of “eliminations” within the regime’s institutions is coming, driven by foreign influence.
He said the regime’s tactics in dealing with these eliminations will not change. “This is through denial in the first phase, followed by disseminating information through parallel media outlets, and then the official announcement through official media outlets. This is what happened with Luna Al-Shibil.”
As rumours circulate about the cause of Al-Shibil’s death, Al-Nuaimi says there were “claims she was sending information about the issue of the Iranian militias in Syria and its implications on the Syrian regime, and based on that, she was removed and completely dismissed.”
Syrian journalist Ahmad Primo, director of the Verify fact-checking platform, said, “I do not want to delve into the cause of death or illness because that is a separate discussion, especially since the regime has a long history in this regard.”
Primo did not notice any particular delay in announcing her death, regardless of its causes.
Primo said, “the announcement was quick, even if indirect, through the Presidency’s account on X.” However, no such announcement was made on official state television.
Announcements about the health of the President’s wife Asma also seem to have changed, perhaps to take the focus away from the eliminations. London-born Asma was diagnosed with leukaemia in May this year, following a successful recovery from breast cancer discovered in 2018.
Primo said, “The regime’s media machinery has taken a direct announcement approach since the start of military intervention [in Ukraine], especially given Russia’s involvement in all [Syrian] state details”.
He added: “I will not delve into the topic of conspiracy but I believe the regime seeks to gain credibility for what it publishes by pre-empting other media outlets.”
There is also the matter of the news that is never announced. Primo says that there is a lot of news about senior figures that is not officially announced but only becomes known to the media through leaks.
After nine years of Russian military intervention in Syria, observers believe that President Putin has achieved a large part of his goals. He has an effective strategic and military presence on the shores of the Mediterranean (huge Russian military bases have been built there), and President Bashar al-Assad has become a supporter of his war in Ukraine even if that support is only in the media.
In a recent television interview, the Syrian president expressed his confidence that Russia would “emerge victorious” from the conflict in Ukraine and would once again “unite the two brotherly peoples”.
Egyptian journalist Hossam Al-Wakeel, editor-in-chief of fact-checking website Tafnied, said: “The official discourse is a fundamental means by which governments deliver information and form perceptions and concepts among the public and the different parties associated with the state.”
He added: “The official discourse must be responsible and transparent, but reality often does not align with this for many governments.”
He continued: “In the Syrian case…this pattern, if it has changed, should be linked to the political process managed by the regime at present, and the evolving nature of its relations and negotiations with the international community and with Russia.”
The delay or otherwise in making announcements by the regime is about political management and appeasing allies.
“There are potential gains [to be had] from accelerating the announcement of crises or disasters,” says Al-Wakeel, who says that Bashar al-Assad will be considering the internal situation as well as changes in the level of international engagement with the Syrian issue in light of the war in Ukraine and the war in Palestine to explore how best to take advantage.
As Russia consolidates its military grip on the country, its grip on the media appears to be tightening too.
