03 Aug 18 | Artistic Freedom, Awards, Cuba, Fellowship, Fellowship 2018, News and features
[vc_row][vc_column][vc_media_grid grid_id=”vc_gid:1533806465014-9fa23910-6976-8″ include=”101950,101948,101949,101952,101947,101951″][vc_column_text]To an outsider, the most startling part of artist Luis Manuel Otero Alcántara’s arrest on 21 July for attempting to protest on the Capitol steps in Havana was the passivity, bordering on fearful ignorance, of his fellow Cubans at the scene. When he shouted and resisted, there was no response. When officers forced his head back to get him into the car, no one batted an eye.
Such is a reality Otero Alcántara and Yanelyz Nuñez, founders of the 2018 Index award-winning Museum of Dissidence, and the independent art community are working to change for the millions of Cubans whose freedom of expression remains severely constrained in the post-Castro era. Describing the challenges modern Cuba faces, Alcántara and Nuñez said “there are two political extremes that fail to dialogue and, in the background, that people are confused, apathetic, saturated with politics, and repressed by fear.”
As Index fellowships and advocacy officer Perla Hinojosa says, “When your freedoms are limited for so long, it becomes natural that when you try to express yourself in a different manner, you are stopped by authorities, so I’m assuming that the Cuban people are desensitised.”
By covering themselves in excrement and demanding “free art,” the artists planned to emphasise that “independent artists are shit for the Cuban state” as Otero Alcántara said after two days’ imprisonment and beatings. He added that they are portrayed as dissidents and lack a platform to engage with the public, much less the government, on legislation like Decree 349, a harsh new law allowing the government to sanction what art can be displayed or exchanged in private settings. Otero Alcántara believes it is “a very clear response” to the Museum of Dissidence’s independent art biennial, held in May despite government attempts to derail it.
While only Nuñez could carry out the protest and demand a meeting with the minister of culture regarding Decree 349, in its aftermath, the artists catalysed a movement of peaceful resistance, digital campaigning and public dialogue to draw national attention to the law and culture of artistic censorship in Cuba. Nuñez, Otero Alcántara and Amaury Pacheco and Iris Ruiz, who were also arrested, have taken the protest to social media, using the hashtags #NOALDECRETOLEY349 (#NOTODECREELAW349) and #artelibre (#freeart) on their Facebook page representing Cuba’s independent artists.
Pacheco is assembling a gallery of Cuban and international artists endorsing the campaign’s phrase: “together we can… no to Decree 349, the law that converts art into a crime.” Featured visual and performing artists like Damián Valdéz Dilla and René Rodríguez tell Cubans that “you are stronger than you think” and “don’t count the days… make sure your days count.” Such messages serve to invigorate a nation with a culture deeply rooted in the suppression of unsanctioned ideas. In his profile, Otero Alcántara encourages the public to “dream when reality tires us, to return to reality when dreaming tires us.”
Hinojosa believes “that this work embodies what meaningful activism against censorship looks like. You can be arrested and threatened but you know you have rights and are willing to stand up for them. They are creating dialogue around the issue for the betterment of themselves and their communities.”
Apart from digital activism, the artists are hosting a public debate in the first week of August. The participating independent artists and journalists have raised concerns that Decree 349 offers a “large margin of action for Cuban censors.” Their objective is to include artists from Cuba and the international community in the conversation and propose a cultural policy that is more considerate of artistic expression. Alcántara and Nuñez believe that “We belong to a generation that wants urgent improvements. A generation that, although it has no political culture, knows what it wants.”
Hinojosa says “Index aims to amplify fellows’ work so that it doesn’t go unseen and provide international support for their activism. This is essential to pressure the government and create dialogue with the community, to tell the Cuban people that it is important to speak out.”
Do you agree with the Museum of Dissidence that artists in Cuba should not be criminalised for their work? If so, please sign their petition against Decree 349.[/vc_column_text][vc_video link=”https://youtu.be/-6JnYDCLKIE”][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_column_text]
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Index encourages an environment in which artists and arts organisations can challenge the status quo, speak out on sensitive issues and tackle taboos.
Index currently runs workshops in the UK, publishes case studies about artistic censorship, and has produced guidance for artists on laws related to artistic freedom in England and Wales.
Learn more about our work defending artistic freedom.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_column_text]
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Index works with the winners of the Freedom of Expression Awards Fellowship to help them achieve goals through a 12-month programme of capacity building, coaching and strategic support.
Through the fellowships, Index seeks to maximise the impact and sustainability of voices at the forefront of pushing back censorship worldwide.
Learn more about the Freedom of Expression Awards Fellowship.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_basic_grid post_type=”post” max_items=”4″ style=”load-more” items_per_page=”4″ element_width=”6″ grid_id=”vc_gid:1533806465027-3ff50ed2-b280-7″ taxonomies=”7874, 23772″][/vc_column][/vc_row]
02 Aug 18 | Artistic Freedom, Event Reports, News and features
[vc_row][vc_column][vc_raw_html]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[/vc_raw_html][vc_column_text]“When I started recording my music I made the decision that I would be out. But at the same time I was so conscious of using pronouns and not coming across as too gay or not coming across too assuming,” said MNEK, English singer, songwriter and record producer, speaking at the Sonos Store in London.
Expression Uncensored, which was hosted by Sonos, Index on Censorship and Gay Times Magazine, featured a panel — Julia Farrington, associate art producer at Index, MNEK, Sado Opera, a queer band, and Princess Julia, a DJ and music writer — that discussed queer music and censorship around the world.
Farrington defined the two main types of censorship that she believes exist — classic state-sponsored censorship imposed through laws and government, and self-censorship.
MNEK’s self-censoring in the beginning of his career was the result of societal pressures. While he said that his coming out was in general a positive experience, he also talked about growing up in a British-Nigerian household where the only thing you hear about homosexuality is that it is wrong. After coming out to his parents, MNEK said that while they support his career and the music he produces, they are sometimes still shocked because “it’s not something they’re used to but it’s all about them learning. There’s nothing wrong with learning something new.”
Living in London, Princess Julia said she had never faced state-sponsored censorship. Instead she faced self-censorship as a result of cultural pressures to look and be a certain way. As part of the Blitz Kids of the 1970s, she helped usher in an era of queer people being able to express themselves the way they wanted to.
She believes that “there’s always been avant garde scenes, underground scenes going on. In times of repression or rebellion even, these scenes tend to emerge. Obviously in Russia, that why there are pockets of creative people striving forth and trying to have an identity.”
Hailing from Russia, Sado Opera faced more state-sponsored censorship, which, in general, leads to self-censorship for fear of being targeted.
Sado Opera was originally created to fight the censorship and homophobia in Russia. The group talked about Russia’s homosexual propaganda law, which forbids talking about homosexuality in public. The name of the law was changed to Promoting Untraditional Family Values to hide the homophobia of the government. The government gives laws unassuming names to make it harder for people to discern the malicious intent behind the legislation, Sado Opera explained.
“Other artists might want to express support, but they can’t. The atmosphere makes you double-think what you say” said Sado Opera.
Although MNEK hasn’t experienced the level of state-sponsored censorship that Sado Opera has, he talks about how he hasn’t been to Nigeria in a long time because of unconscious “fears and my own insecurities with going back there and knowing the legislative issues that are there.”
Sado Opera was only able to be more open about their message when they moved to Berlin, where they have sponsorship from a club and have partnered with several organisations that support LGBTQ+ people facing persecution and women who have survived rape.
MNEK said “it’s a bonus when you realise your music is helping someone live their life” and each artist revealed similar sentiments. [/vc_column_text][vc_row_inner][vc_column_inner width=”1/4″][vc_column_text]
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Index encourages an environment in which artists and arts organisations can challenge the status quo, speak out on sensitive issues and tackle taboos.
Index currently runs workshops in the UK, publishes case studies about artistic censorship, and has produced guidance for artists on laws related to artistic freedom in England and Wales.
Learn more about our work defending artistic freedom.[/vc_column_text][/vc_column_inner][/vc_row_inner][vc_single_image image=”101971″ img_size=”full” add_caption=”yes”][vc_single_image image=”101969″ img_size=”full” add_caption=”yes”][/vc_column][/vc_row]
31 Jul 18 | Artistic Freedom, News and features, United Kingdom
[vc_row][vc_column][vc_gallery interval=”3″ images=”101853,101849″ img_size=”large”][vc_column_text]Dressed in t-shirts and sneakers, a group of teens files into a large, white-walled room reminiscent of a school gymnasium. A stage looms over a motley audience of chairs, its walls plastered with handmade collages of redacted newspaper headlines. It could be any summer programme, but when professional opera singer Abigail Kelly begins leading the students in a song on political dissent and dictatorship, it’s clear that they’ve come together to create something novel, provocative and, above all, youth-led.
This is the English National Opera’s (ENO) Baylis Summer Youth Project, which invites students ages 13-18 from around London to create and perform a new piece of music theatre with the support of professional directors, composers and performers. This summer’s programme challenges participants to think critically about issues of censorship, both modern and historical.
The programme responds to Effigies of Wickedness, a collaboration between ENO and the Gate Theatre. Effigies presented songs censored and banned by the Nazis in the 1930s. The youth project features these songs which were, as assistant composer Kelly rehearsed in one scene, “degenerate music […] especially music written by Jewish composers.”
Previous projects have included Other Voices and Speak Some Truth. Like this year’s project, they responded to ENO productions, helping students break down complex topics related to expression and connect them to their own experiences and the present day. Brainstormed by participants and revised by professionals, the script reflects their discussions on censorship. Participants then split into performance and set design groups to put the performance together in late July.
Three performance group members outlined the creative process:
“First we got quotes on censorship and drew a mind map of our ideas” said Alanis.
“We talked a lot about censorship and self-censorship” said Hugo, adding that he hadn’t really thought about self-censorship and how it affects his own interpersonal interactions before the program.
Another participant, Elizabeth, noted “We were also given a poem explaining the fine line of free speech.”
Kelly mentioned that when students came together in mid-July, programme leaders stimulated their thinking about the intersection of free expression and the arts with poetry from persecuted artists like Palestinian poet Darine Tatour. Index CEO Jodie Ginsberg also spoke to the youth company on the programme’s opening day to stimulate discussion on free expression in the arts.
Diversity and teamwork are at the centre of the programme. Choreography is crowd-sourced from the performance group members and all the costumes and stage decorations were built by the set design team. Across the stage, newspaper collages bear hand-painted slogans like “Answer bad ideas with ideas, not censorship” and “Censorship reflects society’s lack of confidence.” Kelly said “We try to give the participants a sense of ownership over what they’ve created.”
Assistant producer Poppy Harrison sees the program as “An opportunity to discuss things in a different way, […] to show every side of the argument. We’ve been careful not to push [the participants] in any direction.”
ENO Baylis’ outreach began during the school year in communities with limited access to the arts. Students in ENO programmes like Opera Squad were especially encouraged to apply to the summer session. Culminating in a performance in front of friends and family, the programme is an extension of ENO’s mission to inspire students to engage with the opera and pressing issues like censorship in the arts.
With participants like Hugo observing that the programme helped him realise that “Creators are people still censored even in our democratic society,” it would seem that ENO is succeeding.
Index on Censorship works extensively on issues of artistic freedom. Find more information here.[/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:1533049608412-e4e98e79-eb23-5″ taxonomies=”1856, 25039, 13149, 1167″][/vc_column][/vc_row]
26 Jul 18 | Events
[vc_row][vc_column][vc_row_inner][vc_column_inner width=”1/2″][vc_single_image image=”101752″ img_size=”full”][/vc_column_inner][vc_column_inner width=”1/2″][vc_single_image image=”101751″ img_size=”full”][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner width=”1/2″][vc_single_image image=”101753″ img_size=”full”][/vc_column_inner][vc_column_inner width=”1/2″][vc_single_image image=”69903″ img_size=”700×400″][/vc_column_inner][/vc_row_inner][vc_column_text]Join Sonos and Index on Censorship for an evening of thought provoking discussions around issues relating to queer music and censorship in the UK and around the globe.
Panellists include:
• MNEK – English singer, songwriter and record producer
• Sado Opera – LGBTQ+ Russian party band
• Princess Julia – DJ & music writer
Index’s Julia Farrington will moderate the panel.[/vc_column_text][vc_custom_heading text=”In partnership with” font_container=”tag:p|text_align:left”][vc_row_inner][vc_column_inner width=”1/3″][vc_single_image image=”101757″ img_size=”full” onclick=”custom_link” link=”https://www.sonos.com/en-gb/home”][/vc_column_inner][vc_column_inner width=”1/3″][/vc_column_inner][vc_column_inner width=”1/3″][/vc_column_inner][/vc_row_inner][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]
When: Wednesday, 1st August 2018 19:00pm – 20:30pm
Where: Sonos Store London, 21-23 Earlham St, London, WC2H 9LL (directions)
Tickets: Free. Please RSVP by Monday 30th July @5pm: [email protected]
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