NOGs (such as Human Rights Watch and the Human Rights Foundation) have condemned the arrest of Cardinal Joseph Zen, as well as the lawyer Joseph Zen, the singer Denise Ho and the scholar Hui Po-Keung, for having maintained contacts with foreign forces in Hong Kong.
HRW Senior China researcher Maya Wang, said that “the arrest of a 90-year-old cardinal is the latest example of the city’s human rights freefall in recent years.”
The four, along with former lawmaker Cyd Ho, who is already in jail, were part of the 612 Humanitarian Aid Fund, which provided medical, legal and psychological help to protesters arrested during the 2019 pro-democracy protests in Hong Kong. Kong.
Denise Ho, Margaret Ng, and others affiliated with Stand News, an independent pro-democracy online publication, were previously arrested by national security police in December 2021 under allegations of publishing “seditious” and “inflammatory” materials. Denise Ho formerly served on the board of Stand News, but stepped down in November 2021. Meanwhile, the 612 Humanitarian Support Fund ceased operations in October 2021 after national security police and Chinese state-backed media requested information on its beneficiaries and donors.
Maya Wang has specified that Hong Kong has “long been a regional leader in openness and respect for the rule of law, but now competes for the first places in Asia for repression and political prisoners.”
“The people of Hong Kong have been unequivocal in their demand for human rights, and governments around the world should be unequivocal in their response to that call,” concluded the HRW researcher.
To mark the UN Refugee Agency’s 70th anniversary, award-winning cartoonist Hani Abbas has created seven images that will be sold as digital assets to raise funds for Afghanistan.
Syrian-Palestinian cartoonist Hani Abbas, 44, was born and grew up in Yarmouk, a Palestinian refugee camp in the southern suburbs of the Syrian capital Damascus. From the late 1990s his cartoons appeared in publications and exhibitions in Syria and across the Middle East, before he and his family fled the conflict in 2012 and eventually settled in Switzerland as refugees.
Since then, Abbas’s work – which tackles themes of injustice, loss, and the human cost of conflict – has featured in publications including Le Temps and La Liberté in Switzerland and France’s Le Monde. He is also a member of the Cartooning for Peace organization, a network of press cartoonists committed to promoting freedom and democracy. In 2014, Abbas received the International Editorial Cartoon Prize in Geneva. [see: https://www.trueheroesfilms.org/thedigest/laureates/01DCF77A-3DEA-97F4-CE95-6BD185538207]
To mark the 70th anniversary of UNHCR, the UN Refugee Agency, Abbas has teamed up with national partner association Switzerland for UNHCR to launch the agency’s first-ever NFT (non-fungible token) fundraising sale. Abbas has created seven cartoons, from which ten copies of each will be converted into unique digital assets and sold as NFTs on the OpenSea online marketplace to raise funds for UNHCR’s Afghanistan crisis response.
Ahead of the start of the sale on 4 November, UNHCR spoke with Abbas and asked him about his life in Syria, his experiences as a refugee, and the meaning behind the images he has created.
What was your early life like growing up in Yarmouk camp?
Yarmouk is called a camp, but it’s really a part of the city with buildings, streets, and all the normal services. Growing up there was something nice and something hard. A lot of people in a small area; many pupils in the school. We had a beautiful, funny life – hard, but beautiful. Sometimes hard memories become nice when you look back. When I remember it now, I have nostalgia about that time. I remember my friends, my neighbourhood, my street, my family home.
When did you first show a talent for drawing?
When I was a child, I loved to draw. I drew everything, and I drew on everything – I was drawing on the walls, in school textbooks, on my body – everywhere. This is a child’s job! I loved drawing and when I was in school, my art teacher supported me and entered my work in a UN children’s drawing prize which I won twice, when I was 13 and 14. Those prizes gave me the power and the belief to continue drawing – I felt like I had something to say through my drawing. You can explain your story, your feelings, your ideas.
Did you always want to be a cartoonist?
No. At first it was anything, but when I was around 18, I started thinking about cartoons because I saw a lot in the newspapers, and on the walls of the camp. The walls were like our newspaper in the camp. Yarmouk was one big newspaper. In 1998 I published my first cartoon in a Palestinian magazine, then had exhibitions in the camp, in Damascus, Aleppo and Lebanon. I started connecting with newspapers – that’s how it goes. At the same time, I was also a teacher in an elementary school in Damascus.
What themes do you address in your cartoons?
My early cartoons were about Palestine, Palestinian refugees in the Middle East. More political than funny because it was difficult for me to draw something funny. I always go towards tragedy and darkness because I draw what I’m feeling. I’m trying to explain about myself and my people. At that time, I was just drawing and there was no problem for me, but when the conflict started, you had to take your life in your hands when you drew.
I’m still drawing now. Drawing in a safe place like Switzerland is good, you have total freedom. But you lose the sense of danger, the challenge. For me I did my best drawings under the bombs. I lost a big part of my power when I left Syria, but I still have the power of memory.
“The memories occupy my mind all the time.”
How did the conflict affect you personally?
I moved many times in Syria starting from March 2011 until December 2012 when I left. The last six months were very difficult to live under the bombs all the time. At that time, we would hear three sounds. The first was the sound of the shell when it was launched. The second was the sound of the shell above us in the sky. The third sound was the sound the of the explosion on the ground, or in a building. I was drawing all the time, but when I heard that first sound, I would lift my pencil and wait, thinking: ‘maybe this is my last drawing’. If I heard the third sound, that meant I was still alive. I’m lucky because I always heard all three sounds, but many thousands of Syrian people around me never heard the third sound.
You managed to escape Syria, first to Lebanon and then Switzerland. How did your life change?
Before, my family was all in the same place, now everyone is spread around the world. I’m here in Switzerland, in Geneva, my brother is in Cologne in Germany, my parents and two other brothers are in Sweden, and another brother is in Madrid, in Spain. It’s not easy to connect with them. It’s good we have social media and video calls, but it’s not the same. My kids are speaking French now, my brother’s kids are speaking German, Swedish, another Spanish. When they meet now it’s not easy to connect with so many languages, different cultures, different educations. We will lose our family tree. The branches have been cut off and are drifting down the river in different directions. But Switzerland is very good for my kids, without any problems and without any bad memories, without any dangers in the future. For me, it’s okay. I’m working here, I’m still drawing, I’m feeling good – life is good – but the memories occupy my mind all the time.
The images you’ve created for the NFT sale are part of a series you call “Windows”. What significance do windows have in your work?
What is the meaning of windows in my heart? They are our windows to see the country, to see people – to connect with them and hear them. In 2011, after four months of the conflict I drew the first window – a destroyed building with just a window still standing, and a young man waiting outside with a flower to see his love, who was gone. It represents what we’ve lost. I’ve drawn other figures who have left everything else behind but take a window with them, because the window is their memory. I have my own ideas and feelings about the images, but I hope everyone who looks at them can see the effect of war on people.
“I hope all the people who have problems in their countries can get out.”
The money raised in the sale will be used to support the people of Afghanistan. How did you feel watching recent events there?
It felt familiar for me because we were – we’re still – like them. The same problems, the same feelings, the same stories. In the news we always heard about the politics, but we didn’t know what was happening to normal people. For me, I hope all the people who have problems in their countries can get out. I support people who want to get out if they have dreams, if they want to protect their kids.
You’re used to publishing your cartoons in newspapers. How do you feel about them being turned into unique digital assets and sold as NFTs instead?
I don’t have any experience of this – I just do the drawings! But every cartoonist wants their work to be seen, and I support these new ideas. Anything that will help people and explain the hard conditions and problems they face, and allow other people to support them. It’s a new idea, and when I heard about it, I loved it. We hope now it succeeds in focusing attention on the problems of [Afghans], and makes money for them of course, because they need it. Sometimes, to make a little bit of change in people’s lives they just need a tent or a little bit of food, a bit of support or a little education.
The Normandy Freedom Prize invites young people aged 15 to 25 in France and around the world, to reward each year a person or an organization engaged in an exemplary fight in favour of freedom. The online vote open to 15-25 year olds around the world to elect the 2021 Freedom Prize closed on April 26. Sonita Alizadeh, 25 years old, rapper born in Afghanistan, was named the laureate of this third edition of the Freedom Prize thanks to the votes of more than 5,000 young people from all over the world. For more on this award and its laureates see: https://www.trueheroesfilms.org/thedigest/awards/fef9ddd0-5b73-11e9-aba0-2ddd74eff7fa
Sonita Alizadeh is a rapper who was born in Afghanistan under the Taliban regime. At the age of 9, her parents planned to sell her as a bride but because of the war, her family fled to Iran and the planned marriage fell through. In Teheran, an NGO provided her with access to education and a cleaning job. When Sonita stumbled upon a song by the rapper Eminem, it is a real breakthrough. She began writing to tell her story and to speak out against forced marriage and the plight of millions of children around the world. Her first single, “Brides for Sale” garnered worldwide attention. Having moved to the United States, she now studies law to become a lawyer and to return to her country to defend Afghan women and children.
“I am proud to accompany the youth jury for the Prix Liberté. It is essential to sensitize the young generation to the defense of freedoms whatever they may be and to involve them in the construction of equality and the rights of every woman and man in the world. This requires awareness and teaching of what is happening elsewhere but also in France. Young people need to be heard because they are just like adults, victims of suffering and indifference.”
On 13 January 2021) the Human Rights Foundation announced the opening of “In Pursuit of Freedom,” a digital art exhibit featuring 15 protest movements from around the globe. Street protests were a defining feature of recent civil and political resistance despite the spread of the novel coronavirus worldwide. Authoritarian regimes were exposed for using the COVID-19 pandemic as an excuse for repression, stricter restrictions, and power grabs instead of protecting their citizens’ lives. Nevertheless, people took the streets to make their voices heard, and as they adapted to champion social and political change in the face of the outbreak, art was a vigorous medium of protest and creative expression to expose the deception of tyranny. “In Pursuit of Freedom: A Year in Global Protest Art” showcases moving examples of protest art from 15 countries across regions, and attests to how art can be a powerful tool for activism and protest. From Belarus to Hong Kong, visit the exhibit to see striking works of protest art by artists who committed their talent in 2020 to push for change across 15 countries ruled by authoritarian regimes.
In 6 August, 2020 HRF’s President sent a letter to the American hip hop artist Tyga pointing out that his performance is part of a plan to distract from the electoral fraud in the imminent election and prevent protesters from gathering at opposition rallies. The concert is organized and funded by the Belarusian dictatorship, led by Alexander Lukashenko. Under this regime, there is no freedom of speech, no freedom of assembly, and no freedom of association.
“This performance, scheduled for the day before Belarus’ elections, is no coincidence. It is an excuse to cancel the opposition’s final electoral rally, and prevent ordinary Belarusians from showing their support for freedom and democracy,” said HRF president Thor Halvorssen. “It is also a deliberate attempt to turn attention away from the massive electoral fraud that is already taking place across the country.” Belarus’ elections, which haven’t been free or fair since 1994, have been met with extreme repression. As HRF recounted in its letter to the performer: “Protestors are grabbed off the street at random, and many are beaten bloody. The two most popular candidates in the upcoming presidential election, Viktor Babryka and Sergei Tikhanouvsky, were both arrested on trumped up charges. Many opposition activists have had to flee the country, along with their children, after receiving threats from the government.” “Tyga has been an outspoken advocate of the Black Lives Matter movement. He has urged followers to vote in local elections and take to the streets in protest. His support for Lukashenko’s regime will greatly undermine the activism he has encouraged in the United States,and provide the Belarusian dictator a useful propaganda stunt,” said Halvorssen. “We hope he will stand on the side of the people of Belarus as opposed to their oppressor. He must decline the invitation to perform for the dictator.” HRF requested that Tyga cancel his concert and use this media opportunity to send an urgent and categorical message of encouraging support to protestors in Belarus.
Alice Morby in Dezeen Magazine of 26 January 2018 (this is not a typo – I came accross it only recently and thought it contained interesting thoughts as we often feel that there should be more design expertise available to human rights defenders)
Lenger, pictured at Dezeen’s Good Design For A Bad World talk, believes designers can only make a difference if paired with other “changemakers”
“Think of it as a kind of consultant agency, an organisation that people, governments or NGOs can turn to and get support,” Lenger explained. “By combining the experts in two fields, design and human rights, unique and relevant projects will be the outcome – as the context of the projects is set by the culture and human rights issue of the human rights defender.“
…Lenger was one of the speakers for Dezeen’s Good Design for A Bad World talks programme at Dutch Design Week 2017, where panellists – mainly designers – were invited to discuss how design could help tackle real-world issues. Speaking during a talk focused on pollution, Lenger presented another project he has been involved in, called This is Ecocide. Developed while he was studying at Design Academy Eindhoven, This is Ecocide saw Lenger partner with environmental lawyer Polly Higgins to develop a campaign to make ecocide – the destruction of the environment – illegal.
Lenger often takes a political stance with his work. His previous project, This is Ecocide, saw him try to criminalise the destruction of the environment
This project started with the discovery that ecocide was once recognised by the International Criminal Court as a crime, but was removed. With help from Higgins, he found that this was a result of lobbying from four countries: the USA, the UK, France and the Netherlands. “I was like, what should I do? I was 25 years old graduating from Design Academy, how could I work on a field of international law?” he told the audience.
Young designers are taking on more responsibility
According to Lenger, he isn’t unique in wanting to use to design to solve bigger problems. He said he had noticed a shift in the degree of responsibility felt by young designers. “Some people just want to make pretty things, some feel like there’s something missing if they just make pretty things,” he said.
Ano Shumba writing for Music in Africa on 14 April 2020 refers to a call for applications: COVID-19 funding for artists and activists. The University of York’s Centre for Applied Human Rights (CAHR), through a grant from Open Society Foundations, is calling on artists and activists around the world to apply for COVID-19 funding of up to £3 000 ($3 750).
The CAHR recognises that collaborative endeavours between activists and artists have the potential to provide innovative responses to the current COVID-19 emergency, whether in a reactive, therapeutic or imaginative form. The centre seeks applications from artists and activists to address one or more of the following three objectives:
Document, monitor and analyse events in real time.
Reflect on well-being, both your own and that of your communities/organisations.
Go beyond a reactive response to imagine new, alternative futures. This future oriented work could assess how crises and disruption open up new possibilities for creativity and innovation, as well as for regressive and repressive measures, and/or build on positive responses to the virus itself (local and global forms of solidarity).
Expected outputs
Activists could write a diary, make a weekly podcast, write a blog, etc. Artists could work in their chosen media to respond to the activist’s contribution and/or to wider developments in their country/region. The CAHR is open to innovative suggestions on the nature of the collaboration between activists and artists.
Project proposals
Activists and artists should apply by presenting a single collaborative project proposal that does not exceed two pages in length and includes the following:
A brief profile/bio of the artist(s) and activist(s) involved.
A brief description of the project/programme of work, highlighting in particular how it responds to the COVID-19 emergency and its links to activism and civic/political space; which of the three objectives set out above it responds to; any safety, security and ethical concerns, and how these will be addressed; whether it builds on existing initiatives or is a new collaboration, and through which media/methodologies it will be carried out.
The main beneficiaries and audiences of the project/programme of work and why the methodology/medium is appropriate for the local context.
Details of additional sources of funding or contributions.
The envisioned output(s) of the project/programme of work, for both the activist(s) and artist(s).
The amount of funding you are applying for, and a brief justification for the specific amount requested in the form of a basic budget and justification of resources (subsistence/salary costs can be included). It is envisaged that most grants will be for between £1 000 and £2 000. Additional justification will be required for larger awards, up to £3 000, for example, that the application involves groups of activists and/or artists.
One appendix featuring examples of artistic work can be included in the application. The appendix can be additional to the two-page application.
While applications need to be in English, activist and artist outputs that are in part or completely in local languages are welcome.
Criteria for assessment
Clear description of the link between COVID-19, and responses to the virus, on the one hand, and threats to activism and civic/political space on the other, affecting either the artists/activists making the application and/or their country.
Evidence of a strong working relationship between the artist(s) and activist(s).
Feasibility and relevance of the project in challenging and difficult circumstances (including consideration of safety, security and ethics).
Evidence of innovation and creativity.
Deliverables
Artists and activists are expected to provide a timeline for outputs in their application, between now and 31 December 2020. Artists and activists are also expected to submit a short joint report (two pages) detailing the activities undertaken as well as all expenses incurred, by 31 January 2021.
There is no fixed deadline for proposals – applications will be considered on a rolling basis over the coming months. The CAHR will endeavour to get back to applicants within two weeks. Successful proposals will be selected by a panel that will include CAHR staff and associates from a variety of backgrounds.
Copyright
Copyright for the outputs remains the sole and exclusive property of the artist and the activist. Terms of reference/contracts will provide the CAHR with the limited right to reproduce, publicly display, distribute and otherwise use the expected outputs in relation to the CAHR’s work, and as an example of work commissioned through the Open Society Foundations’ grant. Copyright will be addressed in terms of reference/contracts developed with successful applicants.
Confidentiality and ethics
The CAHR will discuss anonymity, confidentiality and other ethical issues with artists and activists as they arise in relation to specific projects.
In the hard-to-define area of cultural rights, the following is an interesting contribution: On 22 October, 2019, the Artists at Risk Connection (ARC) hosted a meeting alongside the UN Special Rapporteur in the field of Cultural Rights, Karima Bennoune, at the Bahá’í International Community’s UN Offices in New York City. The aim of the meeting was to gain expert insight in support of the Special Rapporteur’s next report, on cultural rights defenders (CRDs), which will be presented in March 2020 to the UN Human Rights Council.
Cultural rights, including the right to take part in cultural life, the right to freedom of artistic expression, the right to scientific freedom, and the right to access and enjoy cultural heritage, are being increasingly recognized and mainstreamed internationally, and at the same time are regularly violated by states and other actors. Cultural rights defenders (CRDs) – those human rights defenders who act in defense of cultural rights – need much greater recognition and support to be able to carry out their critical work defending this part of the universal human rights framework. The meeting invited experts and actors working across the field of human rights and cultural rights, including artistic freedom, to share their knowledge on the state of cultural rights and those working to defend them. Participants included UN experts and representatives of UN bodies, representatives from NGOs, frontline cultural rights defenders, experts in cultural heritage work and scientific freedom, as well as those working on the cultural rights of specific categories of persons, including women, persons with disabilities, LGBTI people, minorities, indigenous peoples, artists, and cultural heritage defenders.
The meeting engendered a thought-provoking discussion on topics such as:
An intersectional approach to CRDs that is cognizant of gender, indigeneity, fundamentalism, LGBTQI identity, religion, cultural diversity, climate change, and disability.
The nature of the risks faced by CRDs, how they vary contextually across the Global North and South, and the recourse that such a term offers (or fails to offer) to actors in varied contexts.
What the term “Cultural Rights Defender (CRD)” entails, its use (or not) by human rights defenders and relevant actors across the field of culture, and the potential for its use as a means of redress for cultural activists at risk.
Strategies to better support the work of CRDs, including legal frameworks, the role of the internet, the role of national governments, and systems of censorship.
Inputs from the meeting will be included in the Special Rapporteur’s next report, which will be made public in March 2020. To keep abreast of the mandate of the UN Special Rapporteur in the field of Cultural Rights, you can follow their statements, reports, and feature stories here.
Cyndi Lauper will receive the inaugural High Note Global Prize from the Office of the High Commissioner for Human Rights and the High Note Global Initiative.
For her decades of activism with LGBTQ youth, Cyndi Lauper will be awarded the inaugural High Note Global Prize presented by the United Nations Human Rights and the High Note Global Initiative at her annual Home for the Holidays concert December 10, according to Rolling Stone. For more on this award: http://www.trueheroesfilms.org/thedigest/awards/high-note-global-prize
The High Note Global Initiative stated: “In 2008, Lauper co-founded True Colors United after learning that while 10% of American youth identify themselves as LGBTQ, up to 40% of American youth experiencing homelessness do so. The organization works to prevent and end youth homelessness, focusing on the unique experiences of LGBTQ youth. In 2008, Cyndi Lauper co-founded True Colors United, a nonprofit organization that implements innovative solutions to youth homelessness that focus on the unique experiences of LGBTQ young people, who make up to 40% of the youth homelessness population in America.”
The 2019 High Note Global Prize will be presented during the High Note Honors segment of Cyndi Lauper & Friends: Home for the Holidays at the Novo Theater at LA Live on December 10th. The award will be presented to Lauper by Kesha during the concert in Los Angeles. In 2008, Lauper cofounded True Colors United (named for her smash hit song about celebrating otherness), which “implements innovative solutions to youth homelessness that focus on the unique experiences of LGBTQ young people,” according to its website. In addition to Kesha, additional celebrities supporting Cyndi at the Novo Theater on UN Human Rights Day include, Billy Porter, Brandi Carlile, Belinda Carlisle, King Princess, Charlie Musselwhite, Henry Rollins, Perry Farrell with Etty Lau Farrell, Justin Tranter, K. Flay, Emily Estefan, Shawn Wasabi, comics Carol Leifer and Lily Tomlin, U.K. comedian Gina Yashere, Margaret Cho, and Carson Kressley. Taylor Swift, Billie Eilish, Mariah Carey, Dolly Parton, Lady Gaga, Kelly Clarkson, Dua Lipa, Kacey Musgraves, RuPaul, and Tegan and Sara are among the artists who have donated items and experiences for a charity auction with 100% proceeds supporting True Colors.
Human Rights Defender of the Month (September 2019): Moses Kabaseke
Moses Kabaseke, a talented hip-hop artist and activist from the Democratic Republic of the Congo (DRC), was forced to flee to Uganda in 2013 only 16 years old. Kabaseke, known by his stage name Belidor, has produced music since he was a child. “I use music as a weapon – music has power. I use music to promote human rights.”
Moses Kabaseke refers to DRC as the rich country with the poor people. “Back home a life means nothing. In Congo, life is something that can be taken from human beings easily – there’s no justice,” he states. “It’s difficult for people that have not experienced atrocities to understand how that feels like. With my music, I try to capture the trauma and injustices experienced by so many.” When he was only seven years old, his father was killed. “Every night when my mother was crying, I felt so bad. Since that age, I decided to fight for what was right.” In 2012, history repeated itself when his stepfather was killed before his eyes. At that point his mother had to make the difficult decision to leave home. In a quest to find safety, she brought her four children to Uganda.
“We don’t want to be here, but we are forced to be here,” he stresses, pointing out that life in exile is difficult. Being away from home, without external support and regular income, they face many challenges. “We need to look for ways to pay our bills. However, my siblings and I all have the blood of our father, so the thing we know how to do is music; so, we perform.”
In Uganda, Kabaseke continued his human rights promotion by composing music. After five years of hard work, often performing in Kampala’s bars, restaurants, and churches to finance his music, he recently finished his first autobiographical album. The album, ‘Les Mille Cris’ (Thousands of Cries), which contains ten songs written and produced by himself, conveys messages about human rights violations and injustices in DRC, and life as a refugee, among others. “Les Mille Cris is about breaking down the truth, sensitising Africans and victims of violations, and giving a voice to the voiceless.”
Through his music, he encourages people to tell their story, and moreover, urges the world to listen. Speaking the truth can come at a high cost. “As the number of my followers increase, my personal insecurity increase. Personal safety is essential as an artist talking about human rights,” he says. When asked what inspires him to continue despite the many challenges he is faced with, he states that “I promote human rights because I have been a victim of the system […] we are the main actors in the process of change. We have to stand for our rights.” Moses Kabaseke has partaken in several trainings organised by DefendDefenders, and performed at DefendDefenders’ events.
Hans Thoolen on Human Rights Defenders and their awards 