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.
Posts Tagged ‘artist’
Belarus elections : will Tyga front for dictator Lukashenko?
August 7, 2020Design is a powerful tool but designers need to partner with human rights defenders
June 16, 2020
“Designers should not be portrayed as the heroes of our time” says Bernhard Lenger
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)
Born in Austria but now based in Eindhoven, Lenger often takes a political stance through his work. We Are Human Rights is the first instalment in his We Are initiative, which he describes as a platform for tackling issues through “design thinking”. Designers can’t solve real-world problems on their own, according to designer Bernhard Lenger, whose latest project sees creatives team up with human-rights defenders to develop tools for change. See: https://humanrightsdefenders.blog/2018/11/09/designers-try-their-hands-at-human-rights-issues-in-seven-countries-sudan-nicaragua-colombia-russia-kenya-mexico-and-burundi/
“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.
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.
https://www.dezeen.com/2018/01/26/bernhard-lenger-dutch-design-week-designers-not-heroes-interview/
Call for applications: COVID-19 funding for artists and human rights defenders working together
April 14, 2020
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.
All inquiries and submissions should be directed to Piergiuseppe Parisiat at piergiuseppe.parisi@york.ac.uk (link sends e-mail)and Pippa Cooper at pippa.cooper@york.ac.uk(link sends e-mail).
Timeline
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.
Read the full call callforarctivists.pdf
Expert Meeting on “Cultural Rights Defenders”
December 27, 2019In 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:
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An intersectional approach to CRDs that is cognizant of gender, indigeneity, fundamentalism, LGBTQI identity, religion, cultural diversity, climate change, and disability.
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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.
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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.
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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.
https://artistsatriskconnection.org/story/cultural-rights-defenders-experts-meeting
First High Note Global Prize goes to Cyndi Lauper for her work with LGBTQ youth
November 28, 2019
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.
The prize was created by David Clark, founder of the High Note Global Initiative, which celebrates artists whose work intersects with human rights issues. The award was announced in 2017: https://humanrightsdefenders.blog/2017/12/08/new-human-rights-award-music-to-our-ears/
Cyndi Lauper to Be Honored with Inaugural UN Human Rights Award for Work Helping LGBTQ Youth
Congo’s Hip-Hop artist Moses Kabaseke Defender of the Month for DefendDefenders
October 23, 2019
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.
Check out Moses Kabaseke’s music:
- SoundCloud: https://soundcloud.com/belidorm
- YouTube: https://www.youtube.com/channel/UCw2bpdIDnjdrytHBIQ61lEA
- Facebook: belidormofficiel
Human Rights Defender of the Month (September 2019): Moses Kabaseke
Belgian artist launches a Human Rights Pavilion at Venice Bienniale
May 30, 2019
Coinciding with the 58th Venice Bienniale, Belgian artist Koen Vanmechelen has launched the evolving artwork Human Rights Pavilion. In 2021, he will present his completed Opus to the Venice Biennial authorities with a request for a recurring, international human rights pavilion. Koen Vanmechelen firmly believes that art has a role to play in the current debate about human rights, a controversial issue highlighted by globalisation. Are human rights culturally relative? Does the human rights project have limits? Is the existing Universal Declaration on Human Rights outdated and Western- centered, as some claim?
To answer these questions, together with international partners Global Campus of Human Rights, Fondazione Berengo and the MOUTH Foundation, the Belgian artist launches the Human Rights Pavilion. This ambitious project was initiated on the island of Murano, in parallel with the 58th Venice Biennial. Over the next two years, the evolving work will gain weight and momentum through the dialogues, travels, correspondence, explorations and creations of Vanmechelen during a world tour. The evolving pavilion-to-be should gain form through contact with people and organizations involved or interested in human rights. The focal point is Vanmechelen’s adage ‘the global only exists through the generosity of the local.’
Vanmechelen: ‘Through my longstanding work around children’s and nature rights, I learned that connecting to others is vital. Underlying the philosophy that unifies my work is ‘every organism needs another organism to survive.’ Survival depends on the survival of the other or SoTO. The Human Rights Pavilion comes together in three chapters: SoTO Dialogues, SoTO Environment and SoTO Legacy. Different partners are invited to contribute to both the artistic research and the development of the artwork, aiming to include as many disciplines, perspectives, and cultures in the creation. At the end of 2020, all inputs will be reworked into a unifying OPUS. This collective memory of our moment in time and space, will be presented to the UN High Commissioner for Human Rights, the European Commission and the President and Curator of the 59th Venice Biennale of Art. It will be accompanied by a call to establish a recurrent supra-national Human Rights Pavilion as part of the structure of the Venice Biennial.More Info: www.humanrightspavilion.com
2019 Laureates of the Vaclac Havel Prize for Creative Dissent announced
May 15, 2019Today, 15 May 2019, the Human Rights Foundation (HRF) announced the three recipients of the 2019 Václav Havel International Prize for Creative Dissent. For more on this and other awards, see: http://www.trueheroesfilms.org/thedigest/awards/vaclav-havel-prize-for-creative-dissent. The laureates are Ramy Essam, an Egyptian musician in exile, Rap Against Dictatorship, an anti-authoritarian musical group from Thailand, and Rayma Suprani, a Venezuelan political cartoonist. More on these exceptional artists: Read the rest of this entry »
The FRAME exhibition: Filmmakers Making Women’s Lives Visible
April 27, 2019“Making women’s lives visible is a political act,” says The Asia Foundation’s Jane Sloane. “There are many women human-rights defenders who are akin to modern day Joans of Arc. I wish more of their stories could be the inspiration for feature films.” Sloane was recently awarded an Atlantic Fellowship from the London School of Economics’ Inequalities Institute. She used the opportunity to launch an exhibition called FRAME: How Asia-Pacific Feminist Filmmakers and Artists Are Confronting Inequalities.
A collaboration with photographers and art directors Ariel and Sam Soto-Suver, and Maxine Williamson, artistic advisor and exhibition manager, FRAME showcases eight Asia-Pacific screen artists who are exploring and confronting inequality through their work both in front of and behind the camera: Anida Yoeu Ali, Jan Chapman, Mattie Do, Rubaiyat Hossain, Erica Glynn, Leena Yadav, Van Ha, and Anocha Suwichakornpong.
With FRAME now touring internationally, in this interview Sloane talks about her film series with InAsia
….I’ve also felt some frustration that so many women filmmakers in Asia and the Pacific aren’t being recognized for their work. I believe focusing on feminist filmmakers is a way to address the broader inequalities that women face as filmmakers.
Is this an important moment for women filmmakers in Asia?
Well, I think it’s a tipping point because of movements such as #MeToo, the Sustainable Development Goals, and 50/50 by 2020. With Asia now producing over half of the world’s films, it has real potential as the ground from which a lot of women filmmakers can spring. One of the biggest issues in Asia and the Pacific is violence against women, and film is a powerful way to engage people in that conversation. I lead the work to empower women at The Asia Foundation, and something really interesting from the Foundation’s latest survey in Bangladesh is that boys around the age of nine and 10 are at a key moment in formulating their lifelong attitudes towards girls and women. Film is one of the most accessible mediums for young people in many Asian countries, and it has huge potential to influence the attitudes and behavior of the next generation.
Jan Chapman. Photo: Ariel and Sam Soto-Suver
Tell me about the films that are featured in FRAME. Are they very different from one another?
They are. There’s Mattie Do—her filmmaking captures the phenomenal wealth disparities that exist in Laos. Van Ha’s documentaries in Vietnam have focused on the dislocation of people living in poverty because of the effects of urbanization and corporatization. Erica Glynn, an indigenous Australian filmmaker, is really focused on issues such as the entrenched illiteracy that’s a reality for many Aboriginal and Torres Strait Island peoples. Anida Ali’s work spectacularly challenges assumptions around gender, race, class, and religious identity, including Islamophobia, which is particularly important given the recent terrorist attack in New Zealand. Anocha Suwichakornpong has used film to make visible the roles that women have played as leaders and change-makers in history. And Jan Chapman, producer of The Piano, has played an instrumental role in lifting up strong female figures in filmmaking. I think that is the power of film, that it can challenge the audience at so many different levels.
With civil society under pressure in many places in Asia right now, how have these women been able to navigate the political landscape to maintain some freedom of expression in their films?
I think that the space for women to organize is closing down at the moment. It makes it harder for women to speak—in public spaces and in film. Often, it’s been a combination of tactics—diplomacy, organizing, networking. These filmmakers are so committed to their filmmaking that they have become very skilled at finding money, finding talent, and negotiating where they can film and under what conditions. When I was in the Philippines recently, a group of feminist filmmakers specifically asked whether I could capture the story of their work in Mindanao tracking the role of women organizing and speaking out to end conflict and save lives. So, I feel like FRAME has really struck a chord, and that it’s something whose time has come.
Jane Soane is director of The Asia Foundation’s Women’s Empowerment Program. She can be reached at jane.sloane@asiafoundation.org. The views and opinions expressed here are those of the interviewee, not those of The Asia Foundation.
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https://asiafoundation.org/2019/04/24/frame-filmmakers-making-womens-lives-visible/
