2024, the year that four billion go the polls

Happy New Year – I hope…

Entering a new year typically encourages us to reflect on the past 12 months and consider the impact of what is likely to happen in the next 12. Depressingly, 2023 was yet another year marked by authoritarians clamping down on freedom of expression and harnessing the power of digital technology to persecute, harass and undermine those who challenge them.

Not only did the tyrants, despots and their allies attempt to again crack down on any seemingly independent thought within their own territories, several also sought to weaponise the legal system at home and abroad through the use of SLAPPs. Several EU member states, especially the Republic of Ireland, as well as the United Kingdom have found themselves at the centre of these legal attacks on freedom of expression.

SLAPPs weren’t the only threat to freedom of expression in 2023 though – from the crackdown on protesters in Iran, to the ongoing conflict in Ukraine, the continuing repressive actions of Putin and Lukashenka, the end of freedom of expression in Hong Kong, the increasingly restrictions imposed by Modi, the latest war in the Middle East and the ongoing attacks on journalists in South America.

My depressing list could go on and on. However, we desperately need to find some hope in the world, so Index on Censorship ended 2023 with our campaign entitled “Moments of Freedom”, highlighting the good in the world so let’s carry on with that optimism. A new year brings new beginnings after all. So let’s focus on the new moments of light which will hopefully touch our lives this year.

Half the world’s population will go to the polls this year. That’s an extraordinary four billion people. Each with their own aspirations for their families, hopes for their country and dreams of a more secure world.

As a politician it should come as no surprise to anyone that I love elections. The best campaigns are politics at their purest, when the needs and aspirations of the electorate should be centre stage. Elections provide a moment when values are on the line. How people want to be governed, what rights they wish to advance and how they hold the powerful to account. These are all actioned through the ballot box.

There are elections taking place in countries significant for Index because of their likely impact on freedom of expression and the impact the results may have on the current internationally agreed norms, including Taiwan, India, Pakistan, Bangladesh, South Africa, Russia, Brazil, the European Union, the USA and the United Kingdom. And given current events we can only hope for elections in Israel to be added to the list. The list goes on with each election posing different questions and the results having a different impact on the current world order.

Many other human rights organisations will talk about the importance of these elections for international stability, and rightly so. At Index we will focus on what these elections mean for the dissidents, journalists, artists and academics. Our unique network of reporters and commentators around the world will allow us to bring you the hidden stories taking place and will highlight the threats and opportunities each result poses to freedom of expression. As with 2023, 2024 will be a year where Index hands a megaphone to dissidents so their voice is amplified.

The rallying cry for 2024 must be: “Your freedom needs you!” If you are one of the four billion remember that your ballot is the shield against would-be despots and tyrants. It is the ultimate democratic duty and responsibility and the consequences go far beyond your immediate neighbourhood – so use it and use it wisely.

Contents – Having the last laugh: The comedians who won’t be silenced

Contents

The Winter 2023 issue of Index looks at how comedians are being targeted by oppressive regimes around the world in order to crack down on dissent. In this issue, we attempt to uncover the extent of the threat to comedy worldwide, highlighting examples of comedians being harassed, threatened or silenced by those wishing to censor them.

The writers in this issue report on example of comedians being targeted all over the globe, from Russia to Uganda to Brazil. Laughter is often the best medicine in dark times, making comedy a vital tool of dissent. When the state places restrictions on what people can joke about and suppresses those who breach their strict rules, it's no laughing matter.

Up Front

Still laughing, just, by Jemimah Steinfeld: When free speech becomes a laughing matter.

The Index, by Mark Frary: The latest in the world of free expression, from Russian elections to a memorable gardener

Features

Silent Palestinians, by Samir El-Youssef: Voices of reason are being stamped out.

Soundtrack for a siege, by JP O'Malley: Bosnia’s story of underground music, resistance and Bono.

Libraries turned into Arsenals, by Sasha Dovzhyk: Once silent spaces in Ukraine are pivotal in times of war.

Shot by both sides, by Martin Bright: The Russian writers being cancelled.

A sinister news cycle, by Winthrop Rodgers: A journalist speaks out from behind bars in Iraqi Kurdistan.

Smoke, fire and a media storm, by John Lewinski: Can respect for a local culture and media scrutiny co-exist? The aftermath of disaster in Hawaii has put this to the test.

Message marches into lives and homes, by Anmol Irfan: How Pakistan's history of demonising women's movements is still at large today.

A snake devouring its own tail, by JS Tennant: A Cuban journalist faces civic death, then forced emigration.

A 'seasoned dissident' speaks up, by Martin Bright: Writing against Russian authority has come full circle for Gennady Katsov.

Special Report: Having the last laugh - The comedians who won't be silenced

And God created laughter (so fuck off), by Shalom Auslander: On failing to be serious, and trading rabbis for Kafka.

The jokes that are made - and banned - in China, by Jemimah Steinfeld: Journalist turned comedian Vicky Xu is under threat after exposing Beijing’s crimes but in comedy she finds a refuge.

Giving Putin the finger, by John Sweeney: Reflecting on a comedy festival that tells Putin to “fuck off”.

Meet the Iranian cartoonist who had to flee his country, by Daisy Ruddock: Kianoush Ramezani is laughing in the face of the Ayatollah.

The SLAPP stickers, by Rosie Holt and Charlie Holt: Sometimes it’s not the autocrats, or the audience, that comedians fear, it’s the lawyers.

This great stage of fools, by Danson Kahyana: A comedy troupe in Uganda pushes the line on acceptable speech.

Joke's on Lukashenka speaking rubbish Belarusian. Or is it?, by Maria Sorensen: Comedy under an authoritarian regime could be hilarious, it it was allowed.

Laughing matters, by Daisy Ruddock: Knock knock. Who's there? The comedy police.

Taliban takeover jokes, by Spozhmai Maani and Rizwan Sharif: In Afghanistan, the Taliban can never by the punchline.

Turkey's standups sit down, by Kaya Ge: Turkey loses its sense of humour over a joke deemed offensive.

An unfunny double act, by Thiện Việt: A gold-plated steak and a maternal slap lead to problems for two comedians in Vietnam.

Dragged down, by Tilewa Kazeem: Nigeria's queens refuse to be dethroned.

Turning sorrow into satire, by Zahra Hankir: A lesson from Lebanon: even terrible times need comedic release.

'Hatred has won, the artist has lost', by Salil Tripathi: Hindu nationalism and cries of blasphemy are causing jokes to land badly in India.

Did you hear the one about...? No, you won't have, by Alexandra Domenech: Putin has strangled comedy in Russia, but that doesn't stop Russian voices.

Of Conservatives, cancel culture and comics, by Simone Marques: In Brazil, a comedy gay Jesus was met with Molotov cocktails.

Standing up for Indigenous culture, by Katie Dancey-Downs: Comedian Janelle Niles deals in the uncomfortable, even when she'd rather not.

Comment

Your truth or mine, by Bobby Duffy: Debate: Is there a free speech crisis on UK campuses?

All the books that might not get written, by Andrew Lownie: Freedom of information faces a right royal problem.

An image or a thousand words?, by Ruth Anderson: When to look at an image and when to look away.

Culture

Lukashenka's horror dream, by Alhierd Bacharevič and Mark Frary: The Belarusian author’s new collection of short stories is an act of resistance. We publish one for the first time in English.

Lost in time and memory, by Xue Tiwei: In a new short story, a man finds himself haunted by the ghosts of executions.

The hunger games, by Stephen Komarnyckyj and Mykola Khvylovy: The lesson of a Ukrainian writer’s death must be remembered today.

The woman who stopped Malta's mafia taking over, by Paul Caruana Galizia: Daphne Caruana Galizia’s son reckons with his mother’s assassination.

From the Danube to the Baltic Sea, Germany takes an authoritarian turn

Since the Hamas’ 7 October terrorist attacks and the subsequent Israeli assault on Gaza, German authorities are using increasingly illiberal measures to curtail pro-Palestine activism. Under the guise of combatting Israel-related antisemitism, civic space for freedom of expression and assembly is shrinking.

The seemingly isolated incidents highlighted in this article are piling up and the curtailing of civic space is starting to be noticed internationally: Civicus, which ranks countries by freedom of expression rights, recently downgraded Germany in a review from "open" to "restricted" due to repression of pro-Palestinian voices, as well as of climate activists.

Stigmatisation of pro-Palestine activism

In her speech celebrating the 60th anniversary of the foundation of Israel in 2008, former chancellor Angela Merkel referred to the historical responsibility of Germany for the Shoah, including the security of Israel, as part of Germany’s “Staatsräson” (reason for existence). As Hamas has never credibly renounced its goal of destroying Israel, many German policymakers instinctively lean towards near unconditional support for Israel in the face of such adversaries. For them, the 7 October attacks only served to highlight that Germany cannot give an inch to critics of Israel.

There are long-standing disagreements around where to draw the line between legitimate criticism of Israel and attacks on Israel that single it out because it is a Jewish state, are expressed in antisemitic ways or are motivated by antisemitic views. For example, the International Holocaust Remembrance Alliance (IHRA) definition of antisemitism acknowledges that “criticism of Israel similar to that levelled against any other country cannot be regarded as antisemitic” but identifies seven examples of when attacks on Israel may be antisemitic (taking into account the overall context). For example, it could be antisemitic to reference classic antisemitic tropes such as the blood libel conspiracy myth to describe Israel, deny the Jewish people’s right to self-determination or blame Jews collectively for the actions of Israel, according to IHRA.

While Germany has adopted IHRA, much looser standards seem to be applied by authorities and commentators committed to tackling Israel-related antisemitism. Calls for a binational state, advocacy for the Palestinian refugees’ right of return, support for Boycott, Divestment and Sanctions (BDS) or accusations that Israel is committing Apartheid are regularly identified as antisemitic. There is a strong sense that given its historical responsibility, it is not Germany’s place to judge, or let anyone else judge, Israel even as its offensive in Gaza has resulted in one of the highest rates of death in armed conflict since the beginning of the 21st century, and disproportionately affects civilians.

Against this background, advocacy for Palestinian political self-determination and human rights is cast as suspicious. In the liberal Die Zeit newspaper, journalist Petra Pinzler criticised the Swedish climate activist Greta Thunberg as she “sympathises more and more openly with the Palestinians and thus divides the climate movement.” Apparently sympathy with the Palestinians has become a cause for concern.

The debates since 7 October have created an atmosphere in which pro-Palestinian voices are more and more stigmatised. Pro-Palestinian protests have repeatedly been banned by local authorities. Their dystopian rationale for these bans revolves around the idea that, based on assessments of previous marches, crimes are likely to be committed by protesters. The practice is not new: in the past, German police have even banned protests commemorating the Nakba (Arabic for “catastrophe”), the collective mass expulsion and displacement of around 700,000 Palestinians from their homes during the 1947-49 wars following the adoption of the Partition Plan for Palestine by the United Nations. In reaction to pro-Palestine protests since 7 October, the antisemitism commissioner of North Rhine Westphalia and former federal justice minister even suggested the police should pay closer attention to the nationality of pro-Palestine protest organisers as protests organised by non-Germans could be banned more easily.

Furthermore, pro-Palestinian political symbols are being falsely associated with Hamas or other pro-terrorist organisations. In early November, the Federal Interior Ministry banned the chant “From the River to the Sea, Palestine will be free” as a symbol of both Hamas and Samidoun, a support network for the Marxist-Leninist Popular Front for Liberation of Palestine which has been designated as a terrorist organisation by the European Union.

While one plausible interpretation of the “From the River to the Sea” slogan is that it is a call for the destruction of Israel, it is equally plausible to understand it as a call for a binational state with full equality of all citizens. Without context, the slogan cannot automatically be identified as antisemitic, though it is of course entirely legitimate to criticise this ambivalence. As has been extensively documented, the slogan does not originate with nor is exclusively used by Hamas.

Apart from being based on misinformation, banning "From the River to the Sea" has also created the ludicrous situation that the German police force is asked to make assessments on whether holding a "From the River we do see nothing like equality" placard is an expression of support for terrorism. A former advisor to Angela Merkel even called for the German citizenship of a previously stateless Palestinian woman to be revoked who posted a similar slogan ("From the River to the Sea #FreePalestine") on her Instagram.

In some cases, these dynamics venture into the absurd. On 14 October, the activist Iris Hefets was temporarily detained in Berlin for holding a placard that read: “As a Jew & an Israeli Stop the Genocide in Gaza.”

These illiberal and ill-conceived measures are not limited to protests. In response to the 7 October attacks, authorities in Berlin allowed schools to ban students from wearing keffiyeh scarves to not “endanger school peace”.

Curtailing civic spaces

While these trends have been accelerated since 7 October, they predate it. In 2019, the German Bundestag passed a resolution that condemned the BDS movement as antisemitic. It referenced the aforementioned IHRA definition of antisemitism (which does not comment on boycotts), compared the BDS campaign to the Nazi boycotts of Jewish business and called on authorities to no longer fund groups or individuals that support BDS.

BDS calls for the boycott of Israeli goods, divestment from companies involved in the occupation of Arab territories and sanctions to force the Israeli government to comply with international law and respect the rights of Palestinians, including the right of return for Palestinian refugees. Inspired by the boycott campaign against Apartheid South Africa, BDS has attracted many supporters, but critics have claimed that BDS singles out Israel and delegitimises its existence. Accusations of antisemitism within the movement should of course be taken seriously: BDS supporters have previously been accused of employing antisemitic rhetoric about malign Jewish influence and intimidating Jewish students on campus. However, many of BDS’ core demands are clearly not antisemitic. Since the BDS lacks a central leadership that would issue official stances, it is difficult to make blanket statements about the movement in its entirety.

The 2019 resolution is now being cited to shut down cultural events. A planned exhibition in Essen on Afrofuturism was cancelled over social media posts that, according to the museum, “do not acknowledge the terroristic attack of the Hamas and consider the Israeli military operation in Gaza a genocide” and expressed support for BDS. The Frankfurt book fair “indefinitely postponed” a literary prize for the Palestinian author Adania Shibli, after one member of the jury resigned due to supposed anti-Israel and antisemitic themes in her book. Shibli has since been accused by the left-wing Taz newspaper of being an “engaged BDS supporter” for having signed one BDS letter in 2007 and a 2019 letter that criticised the city of Dortmund for revoking another literary price for an author that supports BDS. A presentation by the award-winning Forensic Architecture research group at Goldsmiths (University of London), which has analysed human rights abuses in SyriaVenezuela and Palestine as well as Neo-Nazi murders in Germany, was likewise cancelled by the University of Aachen which cited the group’s founder Eyal Weizman’s support for BDS.

The curtailing of civic space increasingly affects voices that have stood up for human rights at great personal risk. The Syrian opposition activist Wafa Ali Mustafa was detained by Berlin police near a pro-Palestine protest, reportedly for wearing a keffiyeh scarf. Similarly, the Heinrich-Böll-Stiftung, which is associated with the centre-left Green Party, pulled out of the Hannah Arendt prize ceremony, which was due to be awarded to the renowned Russian dissident, philosopher and human rights advocate Masha Gessen. Despite acknowledging differences between the two, Gessen had compared Gaza to the Jewish ghettoes in Nazi-occupied Europe in an article about the politics of memory in Germany, the Soviet Union, Russia, Poland, Ukraine, Hungary and Israel.

Conversation stoppers

Alarm bells should ring as one of Europe’s major liberal democracies has taken an authoritarian turn in the aftermath of 7 October. Germany’s noble commitment to its historical responsibility in the face of rising antisemitism is morphing into a suppression of voices advocating for Palestinian political self-determination and human rights.

In this distorted reality, civic spaces are eroded, cultural symbols banned, political symbols falsely conflated with support for terrorism and events are shut down. So far, there has been little pushback or critical debate about these worrying developments. To the contrary: politicians, foundations, cultural institutions and media outlets seem to be closing ranks under the shadow of the 2019 BDS resolution and a skewed interpretation of the IHRA definition.

Following the appalling violence committed by Hamas on 7 October, and the scale of civilian suffering in Gaza due to the subsequent Israeli military offensive, polarisation and tension between communities have been on the rise. In this context, it is crucial to be able to have passionate, empathetic, controversial and nuanced discussions about the conflict, its history, the present impasse, potential ways forward and its impact on Jewish, Muslim and Arab communities abroad. With the voices of activists, authors and even internationally renowned human rights advocates being increasingly isolated, these vital exchanges are prevented from taking place.

Art institutions accused of censoring pro-Palestine views

“Any control imposed on art, regardless of the reasons behind it, is unacceptable to an artist,” Ai Weiwei told Index today. The Chinese artist was speaking to Index following the publication of an open letter by Artists for Palestine, which has been signed by more than 1,500 artists including Oscar-winning actor Olivia Colman, and which accuses art institutions in the West of "systematically repressing, silencing and stigmatising Palestinian voices and perspectives." This claim raises serious concerns regarding the current climate of free speech within the art world.

Since the Hamas attack on Israel on 7 October, when around 1,200 Israelis were killed and more than 200 taken hostage, Israel’s retaliatory bombardment of Gaza has reportedly killed more than 21,000 Palestinians. Many artists who have spoken out against the violence have faced backlash. In their statement, Artists for Palestine condemned those aiming to silence Palestinian voices and called for a public demand for a permanent ceasefire by the arts and culture sector.

The scale of the issue is made clear in the letter, which cites no fewer than 18 separate examples of artists allegedly being censored as a result of expressing support or solidarity with Palestinians, or simply by being Palestinian themselves, in light of the ongoing conflict. One example in the letter was the cancellation of an exhibition by Ai Weiwei, which was due to open in November at the Lisson Gallery in London. The gallery called off the event due to a post made by Ai on social media in relation to the conflict, a decision that the artist described as “lacking in rationality and comprehensibility”.

The reasoning behind the exhibition’s cancellation is disputed by the Lisson Gallery. A spokesperson for the gallery told Index that the exhibition had just been postponed, and that it was the result of a social media post which “did not refer to the current tragic situation in the Middle East” and was done “in agreement with Ai Weiwei”.

However, this claim was rejected by Ai, who confirmed that no future date had been set for the exhibition to take place and suggested that he had no control over the decision. “I find the assertion that the postponement was "done in agreement" unreasonable. I have dedicated substantial effort to preparing for this exhibition, and there is no intention on my part to advocate for its postponement,” he said.

“Should the gallery express a desire to postpone, my only option is to acquiesce. In our collaboration, they represent the exhibition side, while I stand merely as the creator.”

Another example of censorship cited in the letter also occurred in the UK. Israeli-British historian Professor Avi Shlaim was scheduled to give a lecture titled Zionism and the Jews of Iraq: a personal perspective at Liverpool Hope University in October, only to be told a week prior to the event that it would not be going ahead. Shlaim argued that such a decision was contrary to the principles of academic freedom and claimed that it was the result of political pressure from those who disagreed with his views on Zionism and Israel.

Liverpool Hope defended their decision to Index, stating that the lecture was not cancelled, but postponed until later in the year. A spokesperson for the university also said: “Many of our community are acutely distressed about the current situation in the Middle East, Gaza and Israel, especially those that have family and friends living there. At the current time we are prioritising support for these groups.

“Freedom of speech is, and always will be, core to our values.”

However, Professor Shlaim was unhappy with this explanation. He told Index: “I reject the explanation of Liverpool Hope-less University. The issue was not safety but freedom of speech and they failed to uphold it in my case. Yes, they offered to postpone my lecture but I refused.”

Liverpool Hope UCU expressed their support for the lecturer in a letter to the university’s vice chancellor, calling the decision a “serious curtailing of academic freedom”. The British Committee for the Universities of Palestine also offered their support, warning that “Liverpool Hope’s decision is unfortunately not an isolated one.”

The letter also refers to Adania Shibli, a Palestinian author who was due to be awarded the LiBeraturpreis award at the Frankfurt Book Fair for her novel Minor Detail, a story in part about the abduction and rape of a Palestinian girl by Israeli soldiers. To the outrage of the literary community, the organiser of the award, Litprom, disinvited the author and called off the award ceremony soon after Hamas attacked Israel. Although they originally suggested it was a joint decision with the author, Litprom retracted this comment after being challenged by Shibli’s publisher.

In an interview with the Guardian, Shibli spoke of her belief that a review of her book which complained that “all Israelis are anonymous rapists and killers, while the Palestinians are victims of poisoned or trigger-happy occupiers” was instrumental in the decision to postpone her award, but insists that the ordeal was “a distraction from the real pain, not more.”

Litprom has stressed that they did not intend to silence or censor Shibli for her work or her views, and instead claim to have made the decision to cancel the award ceremony for her own protection and wellbeing given the highly charged atmosphere surrounding the conflict.

In a statement to Index, the organisers said: “Litprom’s decision was made with the aim of protecting this event and also the prize winner from the politically heated discussion in Germany, which is not accessible to literary discourse.

“Instead, the aim was to enable a worthy celebration of what the award’s jury and many other literary critics consider to be a literary work of very high quality.

“Awarding the prize to Adania Shibli was never in question.”

This example is just one of many included in the open letter to have taken place in Germany. Also cited by Artists for Palestine was the case of Oyoun, a Jewish cultural centre in Berlin which had its funding cut by the Berlin Senate, who told Index that they “certainly feel censored”.

“Oyoun has explicitly refuted the accusations made by the Senate regarding 'hidden antisemitism’”, the centre said in a press release. “Oyoun explicitly opposes antisemitism and rejects any form of hostility towards people.”

On the 7 December, Oyoun filed a lawsuit against the Berlin Senate. They stated that they wished to “draw attention to this intimidation, the associated grievances, the arbitrariness of the Berlin Senate, and the disastrous signal that the closure of Oyoun would have on artistic and freedom of expression in Germany.”

Candice Breitz, a Jewish filmmaker and artist who had her exhibition on sex work activists at the Saarland Museum’s Modern Gallery in Germany cancelled after commenting on the conflict, recently suggested that the state is weaponising false charges of antisemitism in order to repress artists.

It is clear from these incidents that censorship within the art world is a sizeable issue right now, especially but not exclusively of pro-Palestine voices. Each day brings another example from around the world - just last week a number of artists announced plans to cut ties with the Art Canada Institute after accusations that Arab and Muslim artists were being suppressed by sensitivity reviews. The week before, GQ Middle East Man of the Year winner, Palestinian musician Saint Levant, was told not to mention the conflict in his acceptance speech. This mirrors previous accusations that the BBC censored such speeches at the Scottish BAFTA Awards to avoid mentions of a ceasefire. The list goes on and Israeli artists have also been censored, such as several whose pieces were removed from the 10th annual edition of the Mediations Biennale at Art Istanbul Feshane last month. The organisers cited fears of violence as the reason.

The pattern of artists being deplatformed or silenced for showing support for either side is extremely worrying. Artists who express their views within the confines of the law should not have to risk their livelihoods to do so. Although several of the noted examples suggest that many institutions aren’t necessarily against pro-Palestine content on an individual level, they are still curtailing free speech due to fears of the potential backlash to these views. Such fears are not unfounded within the current context of the rise of Islamophobia and antisemitism, but these fears do not excuse censorship of artistic expression or opinion.