05 Oct 22 | Afghanistan, Africa, Americas, Asia and Pacific, Brazil, Bulgaria, China, Europe and Central Asia, India, Israel, Kenya, Magazine, Magazine Contents, Middle East and North Africa, North Korea, Palestine, Poland, Qatar, Romania, Saudi Arabia, United States, Volume 51.03 Autumn 2022, Volume 51.03 Autumn 2022 Extras
The autumn issue of Index takes as its central theme the FIFA World Cup that will take place in Qatar in November and December 2022.
A country where human rights are constantly under threat, Qatar is under the spotlight and many are calling for a boycott of the tournament.
Index spoke to journalists, human rights activists and philosophers for the latest issue to understand their view on the tangled relationship between football and human rights. Is football really the beautiful game?
Upfront
The Qatar conundrum, by Jemimah Steinfeld: The World Cup is throwing up questions.
The Index, by Mark Frary: The latest in the world of freedom of expression, with internet shutdowns and Salman Rushdie’s attack in the spotlight. Plus George M Johnson on being banned.
Features
An unholy war on speech, by Sarah Myers: A woman sits on death row in Pakistan. Her crime? Saying she was a prophet.
Perfecting the art of oppression, by Martha Otwinowski: Poland’s art scene is the latest victim of nasty politics.
Poland’s redemption songs, by Martin Bright: In anti-apartheid solidarity, reggae rode with revolution in Europe.
Fighting back against vendetta politics, by Hanan Zaffar and Hamaad Habibullah: In India, tackling fake news can land you in a cell.
The mafia state that is putty in Putin’s hands, by Mark Seacombe: The truth behind the spread of pro-Russian propaganda in Bulgaria.
Bodies of evidence, by Sarah Sands: A new frontier of journalism with echoes of a crime scene investigator.
Chasing after rights, by Ben Rogers: The activist on being followed by Chinese police.
The double closet, by Flo Marks: Exploring the rampant biphobia that pushes many to silence their sexuality.
Is there a (real) doctor in the house? By John Lloyd: One journalist uncovers the secret of Romania’s doctored doctorates.
The mice hear the words of the night, by Jihyun Park: A schooling in free expression, where the classroom is North Korea.
The most dangerous man in Guantanamo, by Katie Dancey-Downs: After years in Guantanamo, a journalist dedicates himself to protecting others.
America’s coolest members club, by Olivia Sklenka: Meet the people fighting against the surge in book bans.
Special report: The beautiful game?
Victim of its own success? By Simon Barnes: Blame the populists, not the game.
Stadiums built on suffering, by Abdullah Al-Maliki: Underneath the suds of Qatar’s sportswashing, fear and terror remain.
Football’s leaving home, by Katie Dancey-Downs: Khalida Popal put women on the pitch in Afghanistan, before leading their evacuation.
Exposing Saudi’s nasty tactics, by Adam Crafton: A sports journalist is forced into defence after tackling Saudi Arabia’s homophobia.
It’s foul play in Kashmir, by Bilal Ahmad Pandow: Protest and politically motivated matches are entwined in Kashmir’s football history.
How ‘industrial football’ was used to silence protests, by Kaya Genç: Political football: how to bend it like Erdoğan.
Xi’s real China dream, by Jonathan Sullivan: While freedoms are squeezed, China’s leader has a World Cup-sized dream.
Tackling Israel’s thorny politics, by Daniella Peled: Can Palestinians de-facto national team carve out a space for free expression?
The stench of white elephants, by Jamil Chade: Brazil’s World Cup swung open Pandora’s Box.
The real game is politics, by Issa Sikiti da Silva: Is politics welcome on the pitch in Kenya?
Comment
Refereeing rights, by Julian Baggini: Why we shouldn’t expect footballers to hand out human rights red cards.
The other half, by Permi Jhooti: The real-life inspiration behind Bend it like Beckham holds up a mirror to her experience.
We don’t like it – no one cares, by Mark Glanville: English football has moved away from listening to its fans argues this Millwall supporter.
Much ado about critics, by Lyn Gardner: A theatre objects to an offensive Legally Blonde review.
On reputation laundering, by Ruth Smeeth: Beware those who want to control their own narrative.
Culture
The soul of Sudan, by Stella Gaitano and Katie Dancey-Downs: What does it mean for deep-running connections when you’re forced to leave? Censored writer Stella Gaitano introduces a new translation of her work.
Moving the goalposts, by Kaya Genç and Guilherme Osinski: Football and politics are a match made in Turkey. Kaya Genç fictionalises an unforgettable game.
Away from the satanic, by Malise Ruthven: A leading expert on Salman Rushdie writes about an emerging liberalism in Islamic discourse.
30 Sep 22 | Brazil, News and features
It seems incredible but Brazil is becoming a hotbed of fascism, something we thought was more of a European phenomenon. Michel Gherman, a member of the Far Right Observatory, a collaboration between academics from more than 10 Brazilian universities and from other countries, says that Bolsonaro’s election has created a “Disneyland of neo-Nazism in Brazil”, because those who defend him “begin to feel more at ease”. It is true. After the end of the Brazilian dictatorship in the 1980s, the extreme right was ashamed of itself or remained silent. Now its demons are loose, attacking democracy, killing democrats, because it feels protected by the individual in the presidency and the police around him.
To understand some of the reasons for Brazil reaching this state of affairs, it is well worth reading the book Passengers of the Storm: Fascists and Denialists in the Present Time, by professors Francisco Carlos Teixeira da Silva and Karl Schuster Sousa Leão. Published by Cepe, the second largest publishing house in Brazil, we can learn about the history of fascism in Italy, Germany and Japan, which did not remain in the past, because fascisms (that’s right in the plural) work until today on the great masses with irrationality, lies, the implausible and fear, according to the authors. During the research in the book we come to the Brazil of 2022:
“The current president of Brazil, Jair Bolsonaro, corroborates the authorisation of the indiscriminate use of violence by constructing and using social devices as a tool and policy. When he uses social media to state that ‘reporters should really be beaten’, being replicated by his supporters, seconds later, with the statements ‘journalists should be beaten’ and ‘journalists deserve to be beaten, YES’, he instrumentalises politics through a personal, authoritarian, and charismatic abuse of power that aestheticises sociability with the normalisation of the use of force.”
As early as the election campaign of 2018, Bolsonaro declared, “Let’s shoot the petralhada”, petralhada being a reference to left-wing supporters.
And then came the assassinations.
On Sunday, 18 October 2018 in Salvador, capoeira master Moa do Katendê was killed with 12 stab wounds in the back after defending voting for the Workers’ Party (PT) and declaring himself opposed to Bolsonaro.
In 2019, 61-year-old Antônio Carlos Rodrigues Furtado died of cardiac arrest in Balneário Camboriú, Santa Catarina after being kicked and punched by Bolsonarist Fábio Leandro Schwindlein.
In July 2022, Marcelo Aloizio de Arruda, 50, was shot to death at his birthday party by federal criminal police officer Jorge Guaranho. A Bolsonarist, the killer invaded Marcelo’s private party – which had the PT as its theme and images of former president Luiz Inácio Lula da Silva – shouting “here is Bolsonaro”, shooting the host three times.
In early September, according to the Civil Police of Mato Grosso, Benedito dos Santos, a Lula voter, was killed by an attacker wielding an axe.
Before this wave of political crimes committed by Bolsonarists, Brazilian fascism presented both the stimulus and the approval for aggression against democracy. The book Passengers of the Storm says that in 2020 “35 per cent of officers and 41 per cent of military police soldiers throughout Brazil interact on social networks supporting President Jair Bolsonaro”. The authors go on to say, “Their positions in favour of the president, who for at least two years has openly discoursed against several governors, with the Northeast as a focus, make the issue even more politicised and instrumentalised.”
Karl Marx, in writing about the French coup of 1851, noted: “Hegel observes in one of his works that all the facts and characters of great importance in the history of the world occur, as it were, twice. But he forgot to add: the first time as tragedy, the second time as farce.”
For Brazilians, we are now in the second phase of the tragic dictatorship that began in 1964. This is presented in two ways: the tragic destruction of lives by Covid, for which the president said he was not a mortician, and by the destruction of the Amazon.
In 2022, there is talk that garimpo (artisanal mining for precious commodities that is common in the Amazon and often illegal) has “lost its shame”. Under Bolsonaro’s barbarism, openly favourable to the interests of this illegal activity in the forest, the defenders of garimpo are circulating in the corridors of power in the Amazon’s capitals and in Brasilia, and intend to fly even higher: to occupy elective positions in the Legislative Assemblies and in the National Congress, in addition to the governors’ palaces.
Bolsonaro’s attacks on Brazil’s education system, the persecution of artists and the press are tragic but are farcical at the same time. Bolsonaro is ridiculed for being imbrochable, a man who never loses sexual potency, yet he revels in it and this shows in his shouting and speaking. We have reached the point where the animals speak. This is tragedy and farce in unity, the lowest and grossest comedy.
Bolsonaro, in one of his latest farces, has turned historian. He said, “I want to say that Brazilians have gone through difficult times, history shows us. 22, 65, 64, 16, 18, and now 22. History can repeat itself. Good has always won over evil”.
What are these dates he is referring to? It cannot be Modern Art Week because he doesn’t even know what that is. But how has good always triumphed over evil? With murder, torture and cold executions in the dictatorship? With wars and holocausts? Or with the bombing of Hiroshima and Nagasaki? Or with the recent killings of Bruno and Dom in the Amazon? Or does good overcome evil when the forest is devastated? We understand the new language, an absolute inversion of values: good is evil, and evil must be the hope and struggle of the resistance.
For now, we can hope that this barbaric farce can be overcome. We, united, have the streetcar, the ship, the ship of future democracy, whose name is Lula, hopefully winner of the election’s first round. If it is not Lula, then we will sink in the darkness of Brazilian-style fascism.
06 Sep 22 | Americas, Brazil, News and features
President Bolsonaro has taken over the Brazilian flag as a symbol of patriotism to the country. Photo: Marcos Correa/Zuma Press
I was born in the city of Curitiba, in the south of Brazil, and I was always proud to be Brazilian. Since Jair Bolsonaro came to power on 1 January 2019 though it has been very upsetting to watch what has happened to my country.
Bolsonaro was elected – it wasn’t a coup – but he is not in favour of democracy. In fact he represents everything that a democracy isn’t — an enemy of women, Black people, the LGBTQ+ community and Indigenous peoples. During his election campaign he propagated hatred with homophobic, misogynistic and anti-environmental rhetoric. Then, as soon as he began his term in 2019, he put all of his words into actions.
To begin with, firearm registration grew in the country. Support for carrying a weapon was one of the pillars of Bolsonaro’s campaign back in 2018. This worries me, as I am totally against arming the population. It makes me distressed to think of the danger that people I love are in with more guns out there. Bolsonaro relies on the premise that Brazilians have a way to defend themselves against bandits and criminals, but he forgets the main focus, which should be greater investment in public safety, better working conditions for police officers and more educational resources — the only possible way to reduce crime in the country.
An incident on 9 July in the city of Foz do Iguaçu is one example of how gun ownership can have terrible consequences. Municipal guard Marcelo Arruda, treasurer of the Workers’ Party, was celebrating his 50th birthday at a private party when he was shot dead by federal prison agent Jorge Guaranho, a supporter of Bolsonaro. It was a political crime. Arruda supported left-wing candidate Lula and Bolsonaro has been known to promote violence against those with opposing political views, as he did in 2018 when he encouraged his supporters to “shoot the petralhada” (a reference to left-wing supporters) on a visit to the state of Acre.
This incident also raises concerns over freedom of expression in Brazil. Is it no longer possible to support a candidate who is against the current government without automatically becoming the target of violent and radical people?
Bolsonaro is clearly not concerned about the high rates of deforestation in the Amazon and Pantanal region. The situation in the Amazon received a lot of attention in June with the murder of British journalist Dom Philips, together with Indigenous activist Bruno Pereira, who were exposing the scale of environmental destruction at the moment. Their murders were awful, in general and for their families. They also spoke more broadly of Bolsonaro’s disregard for the lives of Brazilians.
For me, Bolsonaro represents death. It is difficult to forget his neglect of the Brazilian people in the worst moments of the Covid-19 pandemic. Since the pandemic started he adopted denialism. He encouraged the use of ineffective drugs and delayed the purchase of vaccines. As a result, people close to me saw family members and friends die from a disease even after the vaccine became available. My family and best friends received their first dose of the vaccine months after those in the UK did, a wait that made me anxious. (As an aside, because of Bolsonaro’s reckless actions, Brazil was on the UK travel red list for almost a year. I couldn’t go back to Brazil and no one could visit me in England. It was 10 months of loneliness, not knowing when I would see the ones I love the most.) In the end, Bolsonaro is partly responsible for the death of hundreds of thousands in Brazil from Covid. How can I not be disgusted by a president who, when asked if he had any words of solidarity with the victims’ families, said “I’m not a gravedigger, OK?”
In Bolsonaro’s Brazil, journalism has also been devalued and attacked with alarming regularity. The president himself has verbally attacked journalists. Examples date back decades and are many, but you don’t have to go back decades to find them. A couple of weeks ago will do. On 28 August, during a presidential debate when journalist Vera Magalhães criticised Bolsonaro’s approach to the Covid-19 pandemic, he called her a “disgrace to Brazilian journalism”. And just this week, he lashed out at the journalist Amanda Klein. When Klein asked Bolsonaro about his finances related to property acquisitions, he said: “Amanda, you are married to someone who supports me”. The journalist promptly answered by saying that her personal life was not on the agenda, which was followed by Bolsonaro questining why his was. “Because you are a public person. You are the president,” she responded, correctly.
These two journalists also shared another thing in common – their gender. Bolsonaro’s contempt and awful treatment towards women is widely known in Brazil. In 2003, for example, he told the politician Maria do Rosário that he wouldn’t rape her because she didn’t deserve it. Eleven years later, he elaborated by saying that she didn’t deserve to be raped because she was ugly and not his type. And yet there are still women who vote for him, something I just can’t understand.
Bolsonaro took over the Brazilian flag with his motto “God above all, Brazil above all”. Before him, when I saw the green and yellow flag – which I think is one of the most beautiful in the world – in houses or on the streets, it was usually people cheering for Brazil on the day of a World Cup match. Today, it’s difficult not to associate the flag with Bolsonaro supporters.
Bolsonaro does not represent me, nor the millions of other Brazilians who have taken a stand against his atrocities. Brazil is much bigger than Bolsonaro. It is a country of exuberant beauty and many kind and generous people. I am proud to be Brazilian and that will never change. One day Bolsonaro will be held accountable for all his actions. Hopefully that day is soon.
05 Aug 22 | Afghanistan, Belarus, Brazil, Indonesia, Kenya, News and features, Poland, Russia, South Africa, United Kingdom
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.
