Myanmar’s deadly earthquake highlights the country’s media restrictions

Blocking international media from reporting in Myanmar following the huge earthquake in March shows the military junta does not tolerate press freedom, experts say.

A huge 7.7 earthquake struck central Myanmar on 28 March, mostly impacting Mandalay and Sagaing, causing the death of thousands of civilians and the collapse of homes and buildings.

International media outlets flew from all over the world, hoping to get inside Myanmar to cover the disaster. Most had flown into Bangkok, Thailand, where the tremors of the earthquake hit, causing a 30-storey skyscraper to collapse with dozens of construction workers trapped underneath.

But the Myanmar military, officially the State Administration Council, claimed the situation was too dangerous for reporters, and also said accommodation options were limited for reporters entering the country. 

Journalist struggles

Silvia Squizzato, an Italian journalist for Rai TV, says she was informed that entering Myanmar brought risks.

“As soon as I arrived in Thailand, I called the Italian embassy in Myanmar to ask if they could help me speed up the visa process, as it takes at least three months to get a journalist visa,” she said. “The Italian embassy repeatedly said it wasn’t possible; they also repeated that entering Myanmar with a tourist visa was too dangerous given the civil war in the country.”

Because of the rejection of a visa, Silvia and her outlet were unable to report on the ground.

“We couldn’t report on the earthquake up close, it was very frustrating. The military junta doesn’t want journalists in the country but neither do various rebel groups. I interviewed many refugees from Myanmar, and they all didn’t agree with this choice,” she added.

Arjan Oldenkamp, a cameraman for RTL Nederland, was another journalist who flew from Europe to cover the disaster. He had travelled all the way from Amsterdam to Bangkok, in the hope that he would get into Myanmar.

“[It was frustrating] for me as a cameraman,” he said. “I wanted only one thing: to get the news right, especially in a place like Myanmar. I would have liked to make a good report. We could not get to the core of the earthquake, it was very frustrating for me. After all, I had flown 13 hours only to be told that we could not get there.”

Damage done 

At least 3,700 people have been killed in Myanmar because of the earthquake, with more than 5,000 injured. Recovery efforts are still ongoing, nearly a month after the quake struck.

The earthquake has caused damage to more than 50,000 buildings with nearly 200,000 people displaced, according to the International Federation of Red Cross and Red Crescent Societies.

For those who have survived the disaster, the cost of rebuilding their homes is unmanageable, and many have been left without food, water or shelter. Bill Birtles, Indonesia correspondent for Australia Broadcasting Corporation (ABC), says if the military had allowed foreign media to enter, more aid and assistance could have been provided from the international community.

“We simply went to the embassy in Bangkok and were told to contact the Ministry of Information in Myanmar via generic email, and only after they ordered it could the embassy begin accepting and processing materials in Bangkok,” he said. “It was obvious there wasn’t a clear way to apply for the J [journalist] visa.

“I think, had the military government allowed international media crews to easily enter, they could have shown the devastation more easily to global audiences, which potentially could have increased the global aid response,” he added.

International aid 

The quake did see the military make a rare plea to the international community for aid.

Teams from the UK, USA, China, Malaysia, New Zealand and South Korea pledged millions of dollars in emergency aid, while Thailand, Indonesia, Philippines, Vietnam, India, Japan, Singapore and Russia sent rescue units to help with the emergency.

But relief efforts have been complicated, as Myanmar has been suffering from a brutal civil war since the military coup of 2021.

The Myanmar military has been in battle with resistance groups, including the National Unity Government of Myanmar, and ethnic armed organisations. Today, the junta has full control over less than a quarter of the country’s territory.

But any international aid that has come into Myanmar has had to go via major cities, including the capital Naypyidaw, Yangon and Mandalay. These cities are controlled by the Myanmar military, which has raised concerns about how the aid will be distributed to earthquake-affected areas, such as Sagaing, which is partially under the control of opposition groups.

Even though state-controlled media outlets from China and Russia, two of the Myanmar military’s few international allies, were provided some reporting access, international media reporting on the ground in Myanmar has been limited. The BBC managed to get a team into Myanmar via India, while Al Jazeera and Agence France-Presse (AFP) already had small teams in Myanmar when the earthquake struck.

Local criticism

Tin Tin Nyo, the managing director of Burma News International, said the military has restricted local media, too.

“The blocking of international media demonstrates that the military junta does not tolerate press freedom or free flow of information,” she said.

“They want to prevent the media from uncovering their mistreatment of the people and their negligence regarding public wellbeing and safety. This pattern will likely extend to various disasters and human rights violations occurring in Myanmar. They have clearly restricted not only local media but also international media from conducting ground reporting on the earthquake and its aftermath, which gravely impacted on the relief and recovery process,” she added.

The Independent Press Council of Myanmar (IPCM) has called the military’s decision to ban international media a “blatant violation of press freedom”.

“The exclusion of international media from reporting on the earthquake’s aftermath, as indicated by General Zaw Min Tun’s pronouncements, is a blatant violation of press freedom and a deliberate attempt to obscure the scale of the disaster. We categorically denounce this obstruction and insist upon the unfettered right of journalists, both domestic and international, to report on this crisis, for the sake of the affected population, the international community, and humanitarian aid organisations,” an IPCM statement read.

Myanmar press freedom environment

The denial of international media only adds to the dire environment for press freedom in the country.

For years, the Myanmar military has cracked down on independent media over the past four years with outlets having their media licences revoked. Hundreds of journalists have been arrested, dozens have been detained while others have been killed. Two freelance journalists were shot dead last year during a military raid. Access to information in the country remains difficult, as journalists continue to be targeted by the military authorities.

As part of that crackdown, the junta has used other tools to prevent information flow into the country.

In January, the military enacted a new cybersecurity law in Myanmar that banned the use of virtual private networks (VPNs). Myanmar also had the most internet shutdowns across the world in 2024, according to a report released earlier this year by digital rights group Access Now. It revealed that most of the 85 shutdowns came at the hands of the military authorities.

Index Index

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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.

Staging dissent: When a British prime minister was not amused by satire, theatre censorship followed. We revisit plays that riled him, 50 years after the abolition of the state censor

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. 

Theatre 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. 

Alternative theatre 

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. 

Desegregating the theatre 

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. 

Sending out a message in a bottle: Actor Neil Pearson, who shot to international fame as the sexist boss in the Bridget Jones films, talks about book banning and how the fight against theatre censorship still goes on

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.

Index urges President Trump to speak out forcefully for press freedom

President Donald Trump
The White House
1600 Pennsylvania Avenue, NW
Washington, DC 20500via emailDear President Trump,We are writing to you as journalists, press freedom organizations, and industry groups to express our deep dismay at the recent violence perpetrated against journalists in the United States as they have sought to report on mass protests across the country. On behalf of the 72 groups listed below, we urge you to speak out forcefully against these attacks and in support of the rights of journalists to report freely, as guaranteed by the First Amendment of the U.S. Constitution.

The United States’ history of protecting free expression and defending and protecting the rights of journalists is much admired beyond U.S. borders. This is born out of a recognition that journalists serve as independent monitors of social and political developments, and are essential to democracy, transparency, and accountability.

Attacks on journalists in the U.S. threaten to undermine this commitment. The U.S. Press Freedom Tracker has received reports of at least 320 violations of press freedom across the country since protests demanding an end to police brutality and calling for social justice broke out on May 26. It is vital that state and local government officials take steps to ensure such violations never happen again, and that the perpetrators are held to account.

We call on you to send a clear and unambiguous message across the country and around the world about the importance of the press freedom and work of the press. Local leaders need to hear unambiguously from you that they have a responsibility to fully investigate these attacks, protect journalists, and ensure that they can work unobstructed and without fear of injury or reprisal.

Press freedom in the United States is critical to people around the world. Thousands of foreign correspondents are based in Washington D.C. and throughout the U.S., where they are tasked with telling the story of America to their publics back home. The ability of journalists to work freely in the U.S. creates a more enlightened global citizenry.

What happens in the United States also has repercussions for journalists around the world, including American correspondents. When the U.S. backslides it sends a green light to authoritarian-leaning leaders around the world to restrict the press and the free flow of information.

Authoritarian regimes in China, Iran, and Turkey have already opportunistically spoken out about the heavy-handed police tactics used here, using the crackdown on the press in this country to legitimize their own repression of independent journalism.

Instead of condemning journalists and the media, we urge you to commend and celebrate them as the embodiment of the First Amendment, which is the envy of so many countries around the world.

Sincerely,

Acclaim Nigeria Magazine (ANM)

Afghanistan Journalists Center (AFJC)

Aliansi Jurnalis Independen (AJI) Indonesia

Americans for Democracy and Human Rights in Bahrain

Arab Reporters for Investigative Journalism (ARIJ)

ARTICLE 19

Associação Brasileira de Jornalismo Investigativo (Abraji)

Association for International Broadcasting

Bangladesh NGOs Network for Radio and Communication

Bytes 4 All

Cairo Institute for Human Rights Studies

Cambodian Center for Human Rights (CCHR)

Canadian Media Lawyers’ Association

Cartoonist Rights Network International (CRNI)

Centre for Law and Democracy

Centre for Media Studies and Peacebuilding (CEMESP)

Committee to Protect Journalists

Community Media Forum Europe (CMFE)

DW Akademie

Free Media Movement – Sri Lanka

Free Press Unlimited

Freedom of Expression Institute (FXI)

Fundación Gabo (Gabriel García Márquez Foundation)

Fundación para la Libertad de Prensa (FLIP)

Global Forum for Media Development (GFMD)

Global Investigative Journalism Network (GIJN)

Global Voices

Hong Kong Journalists Association

Independent Journalism Center

Independent Journalism Center (IJC)

Index on Censorship

Initiative for Freedom of Expression – Turkey (IFoX)

INSI – international News Safety Institute

Institute for Regional Media and Information

Instituto Prensa y Sociedad Venezuela

International Center for Journalists (ICFJ)

International Federation of Journalists

International Media Development Advisers (IMDA)

International Media Support (IMS)

International Press Institute

International Women’s Media Foundation

Internews

Media Focus International (MFI)

Media Foundation for West Africa

Media Institute Southern Africa – Zimbabwe

Media Matters for Democracy (MMFD)

Media Watch

Media, Entertainment & Arts Alliance (MEAA)

Metamorphosis Foundation

Newsgain

Norwegian PEN

Organized Crime and Corruption Reporting Project (OCCRP)

Pacific Islands News Association (PINA)

Pakistan Press Foundation

Palestinian Center for Development and Media Freedoms (MADA)

PEN America

PEN International

Press Union of Liberia

Project Syndicate

Pulitzer Center on Crisis Reporting

Reporters Without Borders

Rory Peck Trust

Rural Media Network Pakistan

Samir Kassir Foundation – SKeyes Center for Media and Cultural Freedom

SembraMedia

Social Media Exchange (SMEX)

Somali Media Women Association (SOMWA).

South East Europe Media Organisation (SEEMO)

South East European Network for Professionalization of Media (SEENPM)

The Center for Independent Journalism, Romania

World Association of Community Radio Broadcasters (AMARC)

World Association of News Publishers (WAN-IFRA)

CC:

Vice President Michael R. Pence

Kayleigh McEnany, White House Press Secretary Ambassador

Kelly Craft, U.S. Permanent Representative to the United Nations

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