The conflict over Crimea and the fighting in eastern Ukraine has resulted in a media war, which has left both Russian and Ukrainian journalists struggling to report accurately on the situation, writes Mapping Media Freedom correspondent Andrey Kalikh.
In Russia, the partisan media environment has been driven by state-backed broadcasters. Federally financed TV channels — Russia 1 and RT — toe the government line on events in eastern Ukraine and Crimea. In 2015, the government boosted its funding of media to 72 billion rubles ($1.2 billion).
Mapping Media Freedom is monitoring the situation with Ukrainian media and journalists working in Russia. These are some of the cases filed by MMF Russian correspondents.
Reporting teams working for Ukrainian television outlets were barred from attending the March 2016 trial of Nadezhda Savchenko, a pilot captured by pro-Russian separatists in eastern Ukraine and handed over to Russian military forces. Savchenko was accused of having directed artillery fire that killed two Russian journalists.
Former Los Angeles Times correspondent Sergei Loiko, a Russian, has been repeatedly harassed in Moscow, where he is based, following the publication of articles on the conflict and his book The Airport, a novel set amid the battle for Donetsk airport in eastern Ukraine. In October 2015 he received a threatening phone call, followed in April 2016 by an incident during which four unknown perpetrators approached him as he was entering independent TV Dozhd’s studio to participate in a live programme.
Some journalists have been barred from entering Russia altogether. In one case, Sergei Supinsky, an AFP photographer based in Ukraine, was stopped from traveling to Moscow from Minsk. Supinsky was told he could not board his flight. No reason was given for the ban.
Russian journalists and activists have also become targets for pressure if they are perceived as supporting Ukraine or objecting to Russian involvement in the conflict.
In April 2016, Mikhail Afanasyev, an independent Novaya Gazeta correspondent based in the Republic of Khakassia posted a photo on Facebook of Kiev’s Maidan Square, where he had recently visited. He was immediately targeted with threats and insults by people referring to themselves as “patriots”.
In December 2015, a blogger from the Siberian city of Tomsk received a five-year sentence for “extremist” videos published on his YouTube page. In one of his videos, later removed, Vadim Tyumentsev referred to refugees from eastern Ukraine “who come and stay in Tomsk, although there are enough other problems in the city”. He accused officials of providing more help to the newcomers than the local population.
This article was updated on 6 September 2016 to provide more context and clarification.
The death of Pavel Sheremet on Wednesday 20 July is the latest and most egregious example of violence against journalists in Ukraine, according to verified incidents reported to Index on Censorship’s Mapping Media Freedom project.
Sheremet was killed when the car he was driving exploded on the morning of 20 July in Kyiv. In a statement, Ukrainian police said that an explosive device detonated at 7.45am as Sheremet was driving to host a morning programme on Radio Vesti, where he had been working since 2015.
The car belonged to Sheremet’s partner, journalist Olena Prytula, who co-founded Ukrainska Pravda with murdered journalist Georgiy Gongadze.
Sheremet had been imprisoned by Belarusian authorities in 1997 for three months before being deported to Russia. Though stripped of his citizenship in 2010, he continued to report on Belarus on his personal website. He moved to the Ukrainian capital in 2011 to work for the newspaper Ukrainska Pravda.
A review of Mapping Media Freedom data from 1 January to 20 July found 41 attacks on journalists — including physical violence, injuries and seizure or damage to equipment and property of journalists — have taken place in Ukraine since the beginning of the year. The largest number of incidents – about one-third – occurred in Kyiv. More than half of these journalists were attacked by unknown assailants, while the names of perpetrators in a third of these incidents are known. In about one in three cases, the attacks were committed by representatives of local authorities.
While impunity remains a key issue in Ukraine contributing to violence against journalists, the situation is slowly beginning to change for the better compared to previous years. According to the Institute of Mass Information, a positive trend has been spotted since the beginning of the year: There has been a slight increase in the number of cases involving violation of the journalists’ rights submitted to courts. In particular, there were 11 such cases in 2015. Meanwhile, 12 such cases were submitted to court for the first quarter of 2016 alone.
Despite the improvement in prosecutions, journalists are continuing to be subject to violence and intimidation.
In June, a series of incidents occurred in Berdiansk in the Zaporizhzhia region.
On 10 June Volodymyr Holovaty, a journalist working for Yuh TV, and his cameraman, Anatoliy Kyrylenko, were physically assaulted at a recreation center in Berdiansk Spit. A group of people in camouflage set upon them without warning. The attackers swore, demanded that filming stop, took the camera, stole a data storage device and struck the journalist and the cameraman, who were taken to a hospital.
On 7 June, during a rally at the Berdiansk courthouse, an unknown person harassed cameraman Bohdan Ivanuschenko and journalist Volodymyr Dyominof, who both work for Yuh TV. In that incident the individual interfered with their filming of a report with obscene language and threatened the media professionals with physical violence.
In response, journalists staged a rally on 13 June to bring attention to the recent threats and assaults in the town and demand a stronger police response. The journalists wrote an open letter demanding prosecutors help protect the rights of media workers in the town.
In the Kyiv incident, photographer and cameraman Serhiy Morhunov, who covers the conflict in eastern Ukraine, was assaulted on 22 May by unknown assailants. The journalist suffered serious head injuries including a brain haemorrhage, fractured lower jaw and partial memory loss. The doctors described his condition as serious. Morhunov was not robbed during the attack.
In Zaporizhzhia Anatoliy Ostapenko, a journalist working for Hromadske TV, who reported on corruption allegedly involving regional officials, was assaulted by masked individuals on 24 May. The journalist was walking to work when he was cut off by a car with tinted windows and lacking a license plate. Three masked men exited the car, knocked Ostapenko to the ground and physically assaulted him. Ostapenko suffered numerous bruises.
On 25 May, in Kherson, Taras Burda, the husband of a member of the Suvorivsky district council, attacked Serhiy Nikitenko, a journalist for Most media and the representative of NGO Institute of Mass Information in the region, with a tablet computer during an altercation. Burda told IMI that the journalist had attacked him first.
Many attacks have been directed at the property or equipment of journalists. In the village of Lebedivka in the Odesa region, poachers threatened the crew of the Channel 7 investigative programme Normal. The individuals pierced the tires of the journalists’ car by laying spike strips and threw eggs at the vehicles. The incident occurred when the crew was filming a TV report about the activities of poachers in the Tuzla Coastal Lakes national reserve.
On 1 April, in the town of Konotop in the Sumy region, unknown persons threw Molotov cocktails at local TV studio. A similar incident occurred in Kyiv on April 22 when 15 unidentified people attacked the office of the Ukraine TV channel. They poured red paint in the channel’s lobby and left a print out reading “Blood will be spilled!”
Only one attack on journalists was recorded in February. However, it was a flagrant incident in the context of physical violence. In Kharkiv, representatives of the Hromadska Varta organisation attacked Stanislav Kolotilov and Lesya Kocherzhuk, journalists for the Kharkiv News portal. Kolotilov suffered a concussion and spinal injury. Kocherzhuk was burned on the hand with a cigarette. The journalists were investigating allegations of illegal construction connected to the Hromadska Varta.
In January, journalistic activity was obstructed in Zhytomyr during a conflict involving the Zhytomyrski Lasoshchi confectionery factory. Guards prevented reporters from Channel 5 and UA1 local online media outlet from filming. A microphone was snatched from Channel 5 journalist and a camera was damaged.
On 11 January 2016, the windows of a car belonging to journalist Svitlana Kriukova were smashed by unknown perpetrators but nothing was stolen from the vehicle. Kriukova was writing a book on Hennadiy Korban, a politician and businessman said to be close to oligarch Ihor Kolomoyskiy. Korban was under investigation for alleged criminal offences including kidnapping and theft. The incident occurred when the Kriukova was visiting Korban at the hospital and she believes the damages are linked to her professional activities.
[vc_row][vc_column][vc_custom_heading text=”Index on Censorship has dedicated its milestone 250th issue to exploring the increasing threats to reporters worldwide. Its special report, Truth in Danger, Danger in Truth: Journalists Under Fire and Under Pressure, is out now.”][vc_row_inner][vc_column_inner width=”1/2″][vc_column_text]
Highlights include Lindsey Hilsum, writing about her friend and colleague, the murdered war reporter Marie Colvin, and asking whether journalists should still be covering war zones. Stephen Grey looks at the difficulties of protecting sources in an era of mass surveillance. Valeria Costa-Kostritsky shows how Europe’s journalists are being silenced by accusations that their work threatens national security.
Kaya Genç interviews Turkey’s threatened investigative journalists, and Steven Borowiec lifts the lid on the cosy relationships inside Japan’s press clubs. Plus, the inside track on what it is really like to be a local reporter in Syria and Eritrea. Also in this issue: the late Swedish crime writer Henning Mankell explores colonialism in Africa in an exclusive play extract; Jemimah Steinfeld interviews China’s most famous political cartoonist; Irene Caselli writes about the controversies and censorship of Latin America’s soap operas; and Norwegian musician Moddi tells how hate mail sparked an album of music that had been silenced.
The 250th cover is by Ben Jennings. Plus there are cartoons and illustrations by Martin Rowson, Brian John Spencer, Sam Darlow and Chinese cartoonist Rebel Pepper.
You can order your copy here, or take out a digital subscription via Exact Editions. Copies are also available at the BFI, the Serpentine Gallery, MagCulture, (London), News from Nowhere (Liverpool), Home (Manchester) and on Amazon. Each magazine sale helps Index on Censorship continue its fight for free expression worldwide.
Index on Censorship magazine was started in 1972 and remains the only global magazine dedicated to free expression. It has produced 250 issues, with contributors including Samuel Beckett, Gabriel García Marquéz, Nadine Gordimer, Arthur Miller, Salman Rushdie, Margaret Atwood, and many more.
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”SPECIAL REPORT: DANGER IN TRUTH, TRUTH IN DANGER” css=”.vc_custom_1483444455583{margin-right: 0px !important;margin-left: 0px !important;border-bottom-width: 1px !important;padding-top: 15px !important;padding-bottom: 15px !important;border-bottom-color: #455560 !important;border-bottom-style: solid !important;}”][vc_column_text]
Journalists under fire and under pressure
Editorial: Risky business – Rachael Jolley on why journalists around the world face increasing threats
Behind the lines – Lindsey Hilsum asks if reporters should still be heading into war zones
We are journalists, not terrorists – Valeria Costa-Kostritsky looks at how reporters around Europe are being silenced by accusations that their work threatens national security
Code of silence – Cristina Marconi shows how Italy’s press treads carefully between threats from the mafia and defamation laws from fascist times
Facing the front line – Laura Silvia Battaglia gives the inside track on safety training for Iraqi journalists
Giving up on the graft and the grind – Jean-Paul Marthoz says journalists are failing to cover difficult stories
Risking reputations – Fred Searle on how young UK writers fear “churnalism” will cost their jobs
Inside Syria’s war – Hazza Al-Adnan shows the extreme dangers faced by local reporters
Living in fear for reporting on terror – Ismail Einashe interviews a Kenyan journalist who has gone into hiding
The life of a state journalist in Eritrea – Abraham T. Zere on what it’s really like to work at a highly censored government newspaper
Smothering South African reporting – Carien Du Plessis asks if racism accusations and Twitter mobs are being used to stop truthful coverage at election time
Writing with a bodyguard – Catalina Lobo-Guerrero explores Colombia’s state protection unit, which has supported journalists in danger for 16 years
Taliban warning ramps up risk to Kabul’s reporters – Caroline Lees recalls safer days working in Afghanistan and looks at journalists’ challenges today
Writers of wrongs – Steven Borowiec lifts the lid on cosy relationships inside Japan’s press clubs
The Arab Spring snaps back – Rohan Jayasekera assesses the state of the media after the revolution
Shooting the messengers – Duncan Tucker reports on the women investigating sex-trafficking in Mexico
Is your secret safe with me? – Stephen Grey looks at the difficulties of protecting sources in an age of mass surveillance
Stripsearch cartoon – Martin Rowson depicts a fat-cat politician quashing questions
Scoops and troops – Kaya Genç interviews Turkey’s struggling investigative reporters
A world away from Wallander – An exclusive extract of a play by late Swedish crime writer Henning Mankell
“I’m not prepared to give up my words” – Norman Manea introduces Matei Visniec, a surreal Romanian play where rats rule and humans are forced to relinquish language
Posting into the future – An extract from Oleh Shynkarenko’s futuristic new novel, inspired by Facebook updates during Ukraine’s Maidan Square protests
The lost art of letters – Vicky Baker looks at the power of written correspondence and asks if email can ever be the same
[/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.
Copies are also available at the BFI, the Serpentine Gallery, MagCulture, (London), News from Nowhere (Liverpool), Home (Manchester), Calton Books (Glasgow) and on Amazon. Each magazine sale helps Index on Censorship continue its fight for free expression worldwide.
Belarus Free Theatre have been using their creative and subversive art to protest the dictatorial rule of Aleksandr Lukashenko for over a decade.
Facing pressure from authorities since their inception, the theatre company nonetheless thrived underground, performing in apartments, basements and forests despite continued arrests and brutal interrogations. In 2011, while on tour, they were told they were unable to return home. Refusing to be silenced, the group set up headquarters in London and continued to direct projects in Belarus. In 2016 the group was shortlisted for Index on Censorship’s Freedom of Expression Arts Award.
Why is it important to mount Burning Doors at this time?
Koliada: Freedom of expression in that geopolitical knot where we come from and where more than 200 million people live under severe pressures of authoritarian and dictatorial regimes. If we do not talk and alert people living in western, democratic countries to our stories, their countries will be infiltrated in different forms, initially unnoticeably, by people manipulating the authorities who say it’s all in the name of the law.
Where did the idea come from?
Koliada: The idea behind Burning Doors is at the heart of Belarus Free Theatre. Close your eyes, just for a moment, and imagine that a theatre company based here in the UK could be prohibited to perform shows by Mark Ravenhill and Sarah Kane, and needs to perform underground. Even operating underground, the actors and managers could be arrested by MI5, riot police or the Met, and audience members threatened and told that they could lose their jobs and education.
(Our audience is a very young one and, of course, they are not scared of the secret services, so what would happen in those cases is that their parents would be threatened with professional retribution.)
I’ll continue and ask you to imagine that all of it has happened and continues to happen to a UK based-theatre company, one that is known and performs across the world, and yet can only exist because its founding members are exiled from their homeland and they now have political asylum in the UK. This has been our story for the past 11 years.
It’s in our blood to feel all the symptoms of dictatorship. Last year when we mounted Staging A Revolution: I’m with Banned which brought international attention to banned artists in Belarus, Ukraine (Ukrainian artists who spoke out against the Russian military invasion of Ukraine and are now prohibited in Russia), and Russia, it was the first time anyone had mounted an artistic solidarity event with Eastern Europe since the collapse of the Soviet Union.
Around the same time that the Festival took place, filmmaker Oleg Sentsov and contemporary artist Petr Pavlensky were arrested. Masha Alekhina, a member of Pussy Riot who served two years in jail, got in contact with us and suggested we work together. We knew we had to do it. We were intrigued by the artistic possibilities of working with a real witness talking about her own personal experiences and bringing her into our Minsk-based ensemble of actors, the most talented and bravest in the world. We wanted to connect Masha’s story to those of other persecuted contemporary actors and through a prism of their personal stories to speak openly about the hypocrisy of politicians and to inspire our audiences to reflect on the reality that we as human beings need to stand up together against repressive regimes. It’s important for us to reemphasise that we are not heroes, we are not victims, we are contemporary artists.
Does BFT think that building cross-border alliances with artists will have an impact on the threats to freedom of expression?
Koliada: Any cross-borders alliances of artists expands audiences. It transforms all of us into a movement. Why do dictators put contemporary artists into jails? Because they want to show with a single example that it’s dangerous to resist systems through the arts. They become scared when we stand up together against them. It’s very simple in thought and action but this is what makes them go into panic mode. Ai Wei Wei was under a house arrest when he created the visual icon for our campaign, Staging A Revolution: I’m with Banned. More than 600,000 people across the world saw it online, and people from more than 37 countries supported our campaign. This kind of collective action makes dictators feel sick and it’s then that they start to make the mistakes that lead to their collapse.
It’s unprecedented for us as a theatre company making work for more than eleven years under dictatorship to collaborate with a woman who served a two-year term in a Russian jail. Within days of announcing this collaboration to the media in the UK, it spread across the world. Even this level of coverage is terrifying to people like Putin or Lukashenko because it demonstrates the tidal wave of support for non-violent resistance by creating art. Art is more powerful than political rhetoric. When Mick Jagger, Tom Stoppard and Vaclav Havel made a video supporting the people of Belarus, we were arrested by the KGB. They knew that it was instigated and created by members of BFT. We understood then that the support of artists across the world was more terrifying to them than statements from politicians.
I think it’s time for all of us to make steps forward and to start to act together with artists, human rights defenders, politicians and journalists, because dictators are scared of a strong mutual position.
How has BFT’s mission evolved since being founded a decade ago?
Koliada: From the very beginning we were only interested in people. Human life is the most interesting subject matter for us. We started with our own personal taboos, then society’s taboos, then moved onto a global dimension. The only thing that is unchanging is our fundamental interest in people. When we perform in different continents across the world, people tell us that they find our work so powerful because they always find themselves within us. And likewise, we find ourselves in our audiences.
How else can people support BFT and Burning Doors?
Koliada: Information is the key. If people know what we do, why and how, we have the chance to continue to exist. People knowing of our existence and our work helps on many different levels including our financial sustainability. Last week, President Obama extended sanctions in Belarus stating that Belarus is “an unusual and extraordinary threat to the national security of the United States of America and its foreign affairs”. Yet at the same time, the EU is playing a badly orchestrated geopolitical rebranding game to try to convince people that “Belarus is normal”. It’s not. It has been a dictatorship in Europe for 22 years, political opponents have been murdered and their bodies never found. Those who perpetrated those crimes are still in power. Even this week, there is a trial underway against Eduard Palchis, who is a blogger and journalist. It seems that Belarus might have seized another political prisoner if human rights organisations across the world do not intervene.
And for BFT more specifically, this month we launched our first-ever Kickstarter campaign. We need to raise £20,000 in the month of June to bring our tireless, extraordinarily brave troupe of actors to the UK to work with them on our new work, Burning Doors. Every pound will help us get there. Please consider finding out more and supporting us today.
