Turkey Blocks is a monitoring system and publicity platform set up to raise awareness of internet shutdowns – often in connection with political events in the country – to help Turkish citizens to keep communicating during emergencies.
Since its establishment in 2015, Alp Toker, a Turkish-British technologist, has set aside his day job, drew on his personal savings and brought together a team to develop new methods, including statistical models, computer hardware and network monitoring tools that have allowed them to break news of 14 mass censorship incidents during politically significant events, challenging the official narrative that the shutdowns are just coincidence.
Using Raspberry Pi technology they built an open source tool able to reliably monitor the blackouts in real time. The tool has proved so successful that it has been implemented elsewhere globally
“Our alerts, issued within minutes of detection, have helped Turkish citizens to stay online when shutdowns get implemented and provided the media with enough confidence to report assertively on digital censorship in Turkey,” Toker told Index on Censorship.
Turkey Blocks’ findings have helped explain how Turkey’s president, Recep Tayyip Erdogan, retained power and suppressed the July 2016 coup attempt by using social media effectively, while denying that capability to opposition demonstrators on other occasions. Users were able to get online after notice of the internet restrictions and developing military uprising spread.
“We similarly tracked the Ankara bombings, Ataturk airport attacks and several others,” Toker said. “Our research has been described as instrumental in the understanding of why and how the government responds to IS and PKK terror attacks, routinely slowing of access to Twitter, Facebook and YouTube.”
In a country marked by increasing authoritarianism, a strident crackdown on the press and social media as well as numerous human rights violations, Turkey Blocks provides a necessary service to take control away from those who seek to restrict the internet.
See the full shortlist for Index on Censorship’s Freedom of Expression Awards 2017 here.[/vc_column_text][/vc_column][/vc_row][vc_row full_width=”stretch_row_content” equal_height=”yes” el_class=”text_white” css=”.vc_custom_1490258749071{background-color: #cb3000 !important;}”][vc_column width=”1/2″][vc_custom_heading text=”Support the Index Fellowship.” font_container=”tag:p|font_size:28|text_align:center” use_theme_fonts=”yes” link=”url:https%3A%2F%2Fwww.indexoncensorship.org%2Fsupport-the-freedom-of-expression-awards%2F|||”][vc_column_text]
It was around 2am on the morning of 3 March 2017 that Turkish police broke the door open to the apartment of Nur Ener, a journalist who works for the daily Yeni Asya. Her house was searched. She was held in custody for three days at the Kocasinan Police Department detention centre in complete isolation before she was arrested on 6 March.
A court ordered her arrest on charges of being affiliated with the Fethullah Gülen network, a religious community which Turkish authorities claim is behind Turkey’s July 15 failed coup. Since then, she has been imprisoned in Bakırköy Women’s Prison in Istanbul. As an alleged member of the group involved in the coup, she is allowed only 45 minutes of family visits a week and only an hour to consult with her lawyer. She is barred from all written communication with the outside world.
It later emerged that her arrest was based on a tip-off from a former flatmate, who was likely coerced into providing names to go free in Turkey’s increasingly Kafkaesque judicial system, where letters or emails are accepted as enough evidence to be arrested on very serious chargesby Turkey’s controversial Criminal Judicatures of Peace. Currently, over 150 journalists are imprisoned in the country, almost all accused of terrorism charges, both as part of and outside the coup investigation.
Life before journalism
Nur was born in the city of İzmir in 1991 to a devout Muslim family. Her father, Uğur Ener, is a furniture seller and her mother, Nazan Ener, a housewife. The couple has another daughter, Rana Ener, who is two years older than Nur.
As a child, Nur was very active and curious, according to her mother Nazan Ener. She was a very good student at school but also had a seemingly limitless energy for a wide range of extracurricular activities, from horseback riding to archery. She was brought up in İzmir and lived there, until her admission into the Communications Department of Erzurum University in 2010.
As a leading member of her university’s Communications Student Club, she often organised panels. During such one event, she met with Kazım Güleçyüz, the editor-in-chief of Yeni Asya, the flagship newspaper of a community in Turkey which profoundly respects and adheres to the Risale-i Nur a collection of treatises offering interpretations of the Quran by the 19th-century Sunni theologian Said’i Nursi.
She interned at the newspaper that summer, and was hired formally in 2015, shortly after her graduation.
“When she was four, we were in the yard and her father asked her to bring something. She said she couldn’t walk in that direction because she didn’t want to step on the ants walking outside. She was always very compassionate,” Nur’s distraught mother said.
“Nur was always respectful of other people’s opinions,” she continued. She mentioned the name of a neighbor, whom she referred to as “our grandfather,” a staunchly secular old man, who “had a complete opposite worldview” from the Ener family. “One day, she saw him painting the yard wall, and she jokingly said ‘Grandfather Mevlüt, I can’t let you tarnish your charisma like that with that paint roller!’ and painted the wall herself.”
Most staff at Yeni Asya agrees that Nur is a natural peacemaker, a born mediator. Her mother remembers: “When she was just a schoolgirl, she once forced us to have a positive dialogue with a neighbor who had yelled at Nur for playing soccer infront of her house.” The neighbor was surprised when Uğur Ener politely asked the neighbor what was wrong, instead of arguing for yelling at her daughter. The neighbor never found out that this had happened on Nur’s demand, and in fact Uğur Ener was initially very angry at him.
Assertive journalist
“I shared a flat with Nur,” said Ülker Caba, a fellow editor at Yeni Asya. “She is a very active person. Before she started working at Yeni Asya, she was involved in various projects in the media. For example, I remember she contributed to Bianet[Independent News Network, a secular news website in Turkey with a good reputation for its journalism, funded by SIDA] . She is a great journalist. She was always very insistent about getting interviews for example. She would call a person a thousand times to make sure that she would get an interview.”
“She was very social and very engaged. Starting these Periscope sessions was her idea,” said Kazım Güleçyüz, who met me in his office at Yeni Asya minutes after completing a morning Periscope broadcast on Yeni Asya’s Twitter account. “We often broadcast these together with Nur,” he said.
Ener’s boisterous and energetic personality also made her an active person outside work. “We cycled or took strolls along the shore on the weekends,” says Recep Kılınç, Nur’s fiancé, who works at the newspaper’s accounting department. The couple had set a wedding date for 29 April. Rana, Nur’s sister, was looking for a wedding gown a few days before her arrest.
“She also loved reading, we would talk for hours and sometimes go star-gazing at night.” Kılınç cannot visit his fiancée in prison as per the restrictions imposed on journalists arrested as part of the coup investigation under Turkey’s State of Emergency rules, which went into force on 20 July, five days after the coup attempt.
Speaking of Nur’s initial detention, Kılınç said: “There wasn’t a single female police officer when they came to her house. All male officers raiding the house of a woman who lived alone in the middle of the night,” a deeply offensive act for the devout family. “They seized her laptop, her books; they left the house a mess.”
Interviews that disturbed some
But why was Nur detained and later arrested, nearly after seven months after the coup attempt? Her family says that a former flatmate of Nur had given her name to the police after being detained herself shortly after the coup attempt. She later called Nur and admitted what she had done, and even apologised. Turkey’s so-called“repentance law”allows suspects to be released if they provide more information about an organisation. Still, her newspaper and family find it perplexing that the police would wait so long to continue the investigation. Could it be a message to Yeni Asya, which has so far been spared in the post-coup decimation of news outlets in Turkey? 160 media organisations have been shut down under several Cabinet Decrees under the post-coup State of Emergency rule.
The answer could be a yes, according to Yeni Asya editor-in-chief Güleçyüz. “It is possible. She recently published some reports that disturbed [the Turkish government]” he said. “Most recently, she published an interview with Fatma Bostan Ünsal,” who parted ways with the Justice and Development Party over differences in opinion after being one of its founders. “The interview criticised the State of Emergency implementations. Its headline quoted Ünsal saying ‘We were freer in Feb. 28,’ a reference to the 1997 unarmed military intervention against a religious-minded government, which caused much grievance among Turkey’s conservative segments, who were profoundly affected by the intervention.
Unclear charges
Because there is a confidentiality decision on the investigation, Nur’s lawyers have not been formally informed of the charges she faces. Nor have they been able to see any document pertaining to the investigation. According to the arrest ruling, she was arrested for having downloaded ByLock, a little-known mobile chat application which Turkish officials say was used only by the members of the Fethullah Gülen network. Although the National Intelligence Agency itself has said that the use of ByLock by the group ended long before the coup, thousands have been arrested for downloading the app.
Nur was put under arrest by a ruling of the 4th Criminal Judicature of Peace. An objection filed by her lawyers to another Judicature of Peace was not processed at any point. However, it recently appeared that an indictment has been prepared and submitted to a court — a rare and positive development in Turkey, a habitual offender in terms of using pre-trial detention as a form of punishment for journalists — and Nur will soon be tried by the 26th High Criminal Court, to which the objection was referred; a procedural violation. A court date has yet to be set.
“We are hoping for her release. The fact that they haven’t rejected our objection might mean that she might be released any time,” Güleçyüz said.
Kılınç agreed, smiling optimistically, he said: “Yes, we start every new day with that hope.”[/vc_column_text][vc_column_text]
Turkey Uncensored is an Index on Censorship project to publish a series of articles from censored Turkish writers, artists and translators.
Enough is Enough, a play formed as a gig, tells the stories of real people about sexual violence, through song and dark humour. It is written by Meltem Arikan, directed by Memet Ali Alabora, with music by Maddie Jones, and includes four female cast members who act as members of a band.
While touring Wales recently with my new play Enough Is Enough, I thought about what I experienced with my earlier work in Turkey. But which Turkey?
In the so-called “New Turkey”, everything is being surveilled by the government, from plays and books to everything you share on social media. There were no undercover Welsh police or prosecutors sitting in the audience in Newport or Pontypridd.
We designed Enough is Enough as a touring project. We went to 21 different Welsh venues in 21 different places, north, south, east and west, in less than a month. Audience members had strong positive reactions and some suggested that the production should be taken into schools. In the New Turkey even thinking about taking the play to schools would be enough to be accused of something unimaginable. If you dared sing the songs sung in Enough is Enough, you can be sure you would receive a violent reaction.
When you confront reality in a direct way, even if it is through art, governments around the world do not want to hear your voice. The New Turkey’s government is only an extreme example. When you speak truths, governments do not want you to be heard – they do not want you at all.
Yet when you show reality in a direct way, when you slap the audience with pain, the reaction becomes the same everywhere. First they are shocked, then they find you unusual, but in the end they compliment you for doing it.
During our tour of Wales, people let us into their hearts, looked after us and many venues promised to invite us again. Audience members shared their stories with us. Many wanted to work with us, others supported us unconditionally.
After every performance we had “shout it all out” sessions. We heard repeatedly how many of the issues we confront on stage – sexual violence, oppression and misogyny – are being swept under the carpet because people don’t like to discuss them.
These sessions took me back to a time before I wrote Mi Minor, the play accused of being a rehearsal for the Gezi Park protests in 2013. A time before I had to leave the country because of those accusations. A time before the innovations in the New Turkey was not as horrifyingly obvious as they are now. A time when the AKP, the ruling party of Turkey, was backed not just by the liberals in Turkey but liberals around the world. Back then I was told I was wrong about the government. It was in 2007 that I wrote a play entitled I am Breaking the Game.
That play premiered in Zurich and toured to Amsterdam, Rotterdam, Istanbul and Ankara. No matter where it was performed there was a particular reaction that stuck with me: “These issues are not our issues, they belong to the East.”
I was inspired by the stories of people I know personally. I was in touch with the victims of domestic violence, honour killings, rape, incest and sexual abuse. I knew all stories were true. So I wasn’t sure why then so many didn’t see these issues as theirs. I searched and searched for this place far away from everyone and everything, where all these horrible things keep happening, called the “East”. Eventually I found myself in the West.
After graduating from the London Academy of Music and Dramatic Art, actor Pinar Ogun felt inspired by Breaking the Game. She felt angry that the run of the play was short in Turkey and she became passionate — almost obsessed — to stage it in London. She tried to convince her instructors at LAMDA, artistic directors of various venues and theatre friends to make it happen. She even introduced me to a couple of people who showed interest, but the reaction was again the same: “Of course these issues are very important but these issues are not our issues, they belong to the East. We resolved these issues in the 1970s. Such plays, performances have been done in the past. These are very old discourses.”
Laurie Penny was one of the only people who had a different reaction. She interviewed me nine years ago: “However much she is hounded by Turkish authorities and tutted at by European theatre goers, one thing is certain: Meltem Arikan is not about to roll over and hush. And thank goodness for that.”
When slapped in the face does it hurt less in the West than in the East?
Why is it considered a social phenomenon when women are killed in the name of honour in the East but an individual crime when women are killed in the name of passion, obsession or jealousy in the West? Child marriage in the East is seen as a nightmare. But, in the West, does calling pregnant children “teen moms” prevent their lives from turning into a nightmare?
After I was forced to leave Turkey and began living in Wales, Ogun restarted her campaign to stage I am Breaking the Game. A year ago, I finally said yes. I’ve been observing a West that has been dazzled by the light of past enlightenments, alienated from its very own issues, attached to the chains of concepts and utterly disconnected to its reality. With Ogun’s company, Be Aware Productions, we applied to Arts Council Wales for research and development funding. But even after the grant was awarded, I was afraid I would still hear the echoes of the long-dead rejection: “These issues are not our issues, they belong to the East”, “the stories of the East”, “The East…”
My rejections, my questions, my issues.
During our research process we met with Welsh sex workers, organisations that help and support women facing violence, and victims. My initial idea was to replace these new stories with the stories in the play, but then I decided to write a new play entirely.
I developed the play with stories of abuse, rape and incest from Britain, all true stories, all had actually happened in these lands. Sometimes I used the exact words of the victims, sometimes I made them more poetic, but most importantly, in order to reach the hearts of the audience, I decided to use the magic of music and that’s how the idea of making it a gig-theatre came to be.
My rejections, my questions, my issues.
When writing Enough is Enough, my intention was to become a megaphone to the people who are facing violence here, to point to the elephant in the room by talking about incest and to underline the fact that when it is about the existence of women and men, those in the West and those in the East were the same.
I dare to say this because I can see blatantly that no matter how much cultures, cuisines, languages, clothes, ethnical backgrounds have managed to differentiate each and every one of us, no matter whether we were born in the West or in the East, we’re all forced to have the life forms designed by the patriarchy and so we are all dominated by the same fears for thousands of years.
Just like the East, the West also lives in its own virtual world built on the concepts of the patriarchal culture. And the relative comfort of this world doesn’t mean a thing for the victims. Just like Turkey, just like France, just like Yemen, just like the USA, women, children and men in Britain become victims. Abuse, rape and incest endlessly continue to exist with all its savagery within society, behind closed doors. The pain and consequences of this ongoing violence continue to be ignored. And while children become the children of fear, not the children of their parents, all around the world violence continues to beget violence. Those who face their pain empathise with victims, whereas those who escape their pain empathise with the perpetrators.
During the Wales tour, the reaction from people who were violated, who knew what violence was, who did not escape from their pain, who faced themselves, who were not in denial of their experiences, in short, the reaction from people who knew the pain of reality, was warm, open and stripped-down. We received the biggest support from women’s organisations, women, some brave men, young people and the LGBT community.
On 8 April 2017 at the Wales Millennium Centre and from the 26-29 April at Chapter Arts Centre, we will continue to say “Enough is Enough”. This time our goal is to reach promoters and artistic directors for an England tour. We want to make our voice be heard in England, and shout “Enough is Enough” together with the English audience.
I really wonder about the reaction of the audience in England. Will they be as open as the Welsh audience or will they keep repeating their apologies while saying these are the East’s problems. The irony is that this time we will be coming from the West, at least west of England.
Yet, whatever the reaction of the audience in England may be, I know for sure there won’t be any audience members who try to organise a mob against us.
Whatever the reaction of the audience in England may be, I know for sure the play would never be banned with the accusation of “disturbing the family order”.
Whatever the reaction of the audience in England may be, I know for sure that newspapers won’t run a smear campaign against the actors because of our play.
Whatever the reaction of the audience in England may be, I know for sure I won’t receive any death threats just because I dared to address violence against women. [/vc_column_text][vc_column_text]
Turkey Uncensored is an Index on Censorship project to publish a series of articles from censored Turkish writers, artists and translators.
[vc_row][vc_column][vc_custom_heading text=”Contributors include Richard Sambrook, Dominic Grieve, Roger Law, Karim Miské, Mark Frary and Canan Coşkun”][vc_row_inner][vc_column_inner width=”1/2″][vc_column_text]
The spring issue of Index on Censorship magazine looks at how pressures on free speech are currently coming from many different angles, not just one. Richard Sambrook, former director of global news at the BBC, shows how journalists are in a bind, caught between what advertisers want and what readers want. Also looking at journalists, Duncan Tucker casts his eye on the grave situation in Mexico, where getting to the truth involves working against the government, violent cartels and even coworkers.
Meanwhile, in the Maldives Zaheena Rasheed shows how a mix of forces conspire against those who want to write anything beyond the usual tourist sale pitch.
But the squeezes on free expression don’t just concern journalists. Annemarie Luckreports from Japan, where penis festivals are popular, but women struggle to discuss their own bodies. Can they find a voice through art and manga? For musician Smockey from Burkina Faso, art should indeed be a way to confront truth and yet that’s not always the case. Expectations run high for him to not be “too political” in his lyrics.
Universities, normally the cradle of free expression, aren’t faring too well either, as two articles show. Jan Foxreports from the USA, where bias response teams are becoming a staple of US collegiate life. In South Africa Fees Must Fall has created a divide between right and left, writes Natasha Joseph, with neither side talking to each other and those in the middle being silenced altogether.
Outside of our special report, Roger Law, creator of the iconic TV satire Spitting Image, talks about the great fun he had with the series back in the day and questions whether the show would be able to air today. Alfonso Lázaro de la Fuente might say no. He was one of the Spanish puppeteers arrested last year for a show that referenced Basque-separatist organisation ETA. In an Index exclusive, he explains what the charges have meant for his personal and professional life.
Want to know how to spot fake news? Then read Reel-time news in which Index’s team of experienced global reporters offer tips on how to spot fake news from a mile/screen away. And don’t miss Martin Rowson‘s fake o’clock news, a hilarious – and sinister – take on what a future of alternative facts would look like.
Index also publish an interview with Turkish journalist Canan Coşkun, whose coworkers are currently in jail, and a pair of writers discuss the situation of free speech in Poland, which is tumbling down global charts following the election of the Law and Justice party. And in the UK, former attorney general Dominic Grieve reveals that MPs are avoiding hard talk in parliament.
Finally, the culture section includes a short story from award-winning French writer Karim Miské and original work from Vyacheslav Huk, a Crimean novelist who is unable to publish work in his mother tongue.
Fact-filled future? by Rachael Jolley: Journalists need to step up, and produce more detailed news coverage. The public needs it
Between a rock and a hard place, by Duncan Tucker: Mexico’s journalists face threats from cartels, the government and each other
Reality rapped, by Smockey: An award-winning musician from Burkina Faso explains why he won’t water down his lyrics to avoid rocking the boat, despite pressure to do so
Talking a tightrope, by Kaya Genç: Despite the crackdown in Turkey, the post-Gezi spirit still survives among the determined
Taking the bait, by Richard Sambrook: The quest for instant gratification online is seriously compromising news reporting
Dangerous minds, by Natasha Joseph: Rather than creating an alliance, Fees Must Fall is limiting free speech at South Africa’s universities, leaving some early supporters disheartened
Japan’s Madonna complex, by Annemarie Luck: Japan’s contradictory attitudes include highly sexualised images of women and women not being allowed to talk about sex-related subjects
Squeezed in the closet, by Hannah Leung: Get married and be quiet are the messages China’s LGBT community is given
Degrees of separation, by Jan Fox: The author investigates units appearing on US campuses suggesting students should report lecturers who they feel are biased
Dying to tell a story, by Sadaf Saaz: The list of what Bangladesh writers cannot talk about is getting longer, but that isn’t stopping some from writing
Trouble in paradise, by Zaheena Rasheed: Behind the image of palm-lined beaches is a side of the Maldives the government doesn’t want you to see
Your cover is shown, by Mark Frary: Tech giants and governments are out to get your data. Soon it might be impossible to remain anonymous
We have no time for fear, by Canan Coşkun: A Turkish journalist on the perils of reporting in her country when fellow reporters are imprisoned
Reel-time news, by Natasha Joseph, Kaya Genç, Jemimah Steinfeld, Duncan Tucker, Abraham T Zere, Raymond Joseph: As “fake news” dominates headlines, Index’s global team of experienced journalists offers tips on how to spot falsehoods before you click and share
Singing from the same hymn sheet, by Suhrith Parthasarathy: Rising Indian nationalism is creating a repressive state where non-conformity is deemed unpatriotic
Poland: Special Focus, by Wojciech Przybylski, Marcin Król: Poland has gone from free speech hero to villain almost overnight. Two writers discuss the shift and why history is being rewritten
Shooting from the hip, by Irene Caselli: A new mayor in a Mexican border city believes he will make it less dangerous for journalists
Silence in the house, by Dominic Grieve: The former UK attorney general says MPs are shying away from tough topics in parliament
Puppet masters, by Roger Law: The creator of iconic TV satire Spitting Image on whether we still have our sense of humour
Drawing the line, by John Power: Australia is debating free speech, one cartoon at a time. Cartoonist Bill Leak interviewed just before he died
Puppet state, by Alfonso Lázaro de la Fuente: A Spanish puppeteer, arrested after terrorism charges related to a show, discusses the impact on his life
Novel take on terror, by Karim Miské: The award-winning crime writer on why fiction and reality overlap. Plus his short story featuring a future where tech rules supreme. Interview by Sally Gimson
The war of the words, by Amira Hanafi: Translated extracts from an American-Egyptian writer’s project to capture the shifting linguistic landscape in Egypt since 2011. Interview by Sally Gimson
Crimean closedown, by Vyacheslav Huk: The Crimean novelist on being unable to publish in his mother tongue and a story of the narrator’s memories. Introduced and translated by Steve Komarnyckyj
Index around the world, byKieran Etoria-King: What to look out for at Index’s Freedom of Expression Awards 2017, alongside news of other projects that Index has been working on in the last few months
Getting print out, by Jemimah Steinfeld: Self-publishing may be a new solution to censorship in China and other countries
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”SUBSCRIBE” css=”.vc_custom_1481736449684{margin-right: 0px !important;margin-left: 0px !important;border-bottom-width: 1px !important;padding-bottom: 15px !important;border-bottom-color: #455560 !important;border-bottom-style: solid !important;}”][vc_column_text]Index on Censorship magazine was started in 1972 and remains the only global magazine dedicated to free expression. Past contributors include Samuel Beckett, Gabriel García Marquéz, Nadine Gordimer, Arthur Miller, Salman Rushdie, Margaret Atwood, and many more.[/vc_column_text][vc_row_inner][vc_column_inner width=”1/2″][vc_single_image image=”76572″ img_size=”full”][/vc_column_inner][vc_column_inner width=”1/2″][vc_column_text]In print or online. Order a print edition here or take out a digital subscription via Exact Editions.
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