Day: October 8, 2017

A movie secretly shot inside an Australian-run detention center for asylum seekers highlights the plight of thousands of “forgotten” refugees who have been marooned for years on remote Pacific islands, its co-directors said on Sunday.

“Chauka, Please Tell Us the Time”, which had its international premiere at the London Film Festival, offers a glimpse into daily life at a detention complex on Manus Island in Papua New Guinea, 160 km (100 miles) north of Australia.

Nearly 2,000 men, women and children are held on Manus Island and at another Australian-funded center on the tiny Pacific island of Nauru, where most of them have been given refugee status.

But despite their refugee status, many have been held for four years in conditions criticized by the United Nations and rights groups.

“This movie is our voice and we want people around the world to hear it,” co-director Behrouz Boochani, a Kurdish journalist from Iran, told the Thomson Reuters Foundation by phone from Manus, where he has been held since 2013.

Canberra’s hardline immigration policy requires asylum seekers intercepted at sea trying to reach Australia to be sent for processing on Manus Island and Nauru. They are told they will never be settled in Australia.

“People are dying on this island,” said Boochani, referring to the recent suicide of two asylum seekers.

Boochani filmed the documentary on a mobile phone and sent it in short clips via WhatsApp to Dutch-Iranian film-maker Arash Kamali Sarvestani, who made it into a movie.

Most of the footage was recorded surreptitiously.

“We were alone … I, Behrouz, and a smart phone – that’s it,” Sarvestani told the Thomson Reuters Foundation in an interview in London.

The movie shows asylum seekers struggling to cope with the camp’s monotony and prolonged separation from their families, while a journalist investigates reports of ill-treatment in a solitary confinement unit nicknamed “Chauka” after a local bird.

Interviews are alternated with stark, silent shots of a butterfly, a kitten or children playing on the other side of the security fence separating the camp from the outside world.

“We wanted to make it poetic, we wanted to give space to the audience to think,” Sarvestani said.

Boochani couldn’t attend the London premiere as he is not allowed to leave Manus Island. He and Sarvestani have never met in person.

Former U.S. president Barack Obama late last year agreed to resettle up to 1,250 asylum seekers held in Australian immigration centers in PNG and Nauru. In exchange, Australia agreed to take Central American refugees.

In September, a few dozen refugees left for resettlement in the United States under the refugee swap that U.S. President Donald Trump described as “dumb” but begrudgingly said he will honor.

But Australia is now facing increased pressure to resettle asylum seekers from Manus Island because of the planned October 31 closure of the camp that has been subject to violence from locals.

Concerns persist that many of the refugees will not be offered U.S. resettlement.

“Everything is uncertain … we are worried,” said Boochani.

Australian officials did not immediately respond to a request for comment.
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When Israel’s envoy told UNESCO delegates last July that fixing the plumbing in his toilet was more important than their latest ruling, it highlighted how fractious geopolitics are paralyzing the workings of the agency.

Whoever wins the race to replace Irina Bokova as head of the U.N.’s cultural and education body next week will have to try to restore the relevance of an agency born from the ashes of World War II but increasingly hobbled by regional rivalries and a lack of money.

Its triumphs include designating world heritage sites such as the Galapagos Islands and the historic tombs of Timbuktu — re-built by UNESCO after Islamist militants destroyed them.

But in a sign of how toxic relations have become, Israeli Prime Minister Benjamin Netanyahu told world leaders at the U.N. General Assembly last month that UNESCO was promoting “fake history.”

Like Israel’s plain-speaking envoy Carmel Shama Hacohen, Netanyahu was referring to UNESCO’s designation of Hebron and the two adjoined shrines at its heart – the Jewish Tomb of the Patriarchs and the Muslim Ibrahimi Mosque – as a “Palestinian World Heritage Site in Danger.”

Jews believe the Cave of the Patriarchs is where Abraham, Isaac and Jacob and their wives, are buried. Muslims, who, like Christians, also revere Abraham, built the Ibrahimi mosque, also known as the Sanctuary of Abraham, in the 14th century.

Israeli-Palestinian hostilities, though, are only part of a minefield of contentious issues on which the U.N. body has to hand down rulings.

Japan, for example, threatened to withhold its 2016 dues after UNESCO included documents submitted by China on the 1937 Nanjing Massacre in its “Memory of the World” program.

The Paris-based organization, which also promotes global education and supports press freedom, convenes its executive council on Oct. 9 to begin voting on seven candidates.

Azerbaijan, China, Egypt, France, Lebanon, Qatar and Vietnam have put forward candidates. There is no clear frontrunner.

UNESCO’s struggles worsened in 2011, when the United States cancelled its substantial budgetary contribution in protest at a decision to grant the Palestinians full membership. UNESCO has been forced to cut programs and freeze hiring.

“It’s an organization that has been swept away from its mandate to become a sounding board for clashes that happen elsewhere, and that translates into political and financial hijacking,” said a former European UNESCO ambassador.

Drawing Lots

All the candidates have vowed a grassroots overhaul and pledged independence from their home nations.

France and China, both permanent members of the U.N. Security Council, argue the agency needs “strong leadership, which can only come with the backing of a major power.

Chinese candidate Qian Tang has almost 25 years experience at UNESCO. His bid fits into Beijing’s soft power diplomacy, though Western capitals fret about China controlling an agency that shapes internet and media policy.

Former French culture minister Audrey Azoulay carries the support of France’s new young president, Emmanuel Macron. But the last minute French candidacy has drawn the ire of Arab states, notably Egypt, who believe it should be their turn.

The Arab states face their own political tests. Their three entries underscore their own disunity, something the Egyptian hopeful Moushira Khattab has indicated stymie the Arab bid.

The crisis engulfing Qatar and its Gulf Arab neighbors, who have called Doha a “high-level” sponsor of terrorism, meanwhile may have hurt the chances of former Qatari culture minister Hamad bin Abdulaziz al-Kawari.

Voting takes place over a maximum five rounds. If the two finalists are level, they draw lots.
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The rise and fall of flamboyant, ferocious Ezekiel Dlamini, a black South African boxer known as “King Kong” who was jailed for murder, inspired a 1959 musical whose black cast performed for multi-racial audiences, testing the apartheid system of that era. Now the musical that helped to propel the careers of singer Miriam Makeba and trumpeter Hugh Masekela is back on the stage in South Africa.

“King Kong: Legend of a Boxer” highlights the jazz infused with indigenous influences that flourished in some black urban areas, particularly Johannesburg’s Sophiatown, in racially segregated South Africa in the 1950s, as well as the underworld of gangsters and bars known as shebeens accompanying the creative ferment. The backdrop, while not explicitly addressed in the play, is the white minority rule that systematically marginalized the country’s black majority.

The show, which ends a run at the Joburg Theatre on Sunday and returns to The Fugard Theatre in Cape Town on Dec. 12, is a cautionary tale. In 1957, Dlamini fatally stabbed girlfriend Maria Miya, an act that resonates in a country whose high rate of violent crime counts many women among its victims.

One theme in the musical is “the importance of understanding and owning your power but also taking responsibility for it,” said Nondumiso Tembe, a Los Angeles-based South African actor playing the role of Joyce, a host at a bar called Back o’ the Moon who becomes romantically entangled with the boxer. Tembe noted that the killing of women “has sort of become an epidemic in our society today.”

In a reminder of that scourge, President Jacob Zuma last week condemned the fatal shooting of eight women and girls, reportedly members of the same family, in a village in KwaZulu-Natal province and said curbing violence against women is a priority for his government. Police are investigating whether the killings were the result of a family feud or were linked to political rivalries that periodically turn violent in the region.

Some South African commentary on “King Kong” has recalled Oscar Pistorius, the South African double-amputee athlete who was imprisoned for murdering girlfriend Reeva Steenkamp on Valentine’s Day in 2013.

Dlamini was a gambler and brawler from a rural village who flouted conformity and gained a big following in Johannesburg, becoming South Africa’s “non-European” heavyweight champion. (Black and white boxers were not allowed to fight each other in those days.) An old photograph shows him bare-chested, wearing chains that he donned to show his humiliation after losing a fight.

Eventually, he “became involved with local gangsters and succumbed to bouts of drunkenness and with that came an increasingly violent and paranoid lifestyle,” the musical’s program says. He killed Miya after a quarrel, according to reports. Dlamini asked to be put to death after he was convicted, but was sentenced to 12 years of hard labor. Soon after that, he drowned in a prison reservoir in what was believed to be a suicide.

A 1979 remake of “King Kong” got bad reviews and quickly collapsed.

In this year’s version, Dlamini is played by Andile Gumbi, who had the role of Simba in “The Lion King” on Broadway and elsewhere. Briton Jonathan Munby directs.

In the original show in South Africa, Makeba played Joyce, Dlamini’s lover, but was soon bound for bigger success in the United States. She died in 2008. Masekela, who was 19 when he performed in “King Kong,” said Saturday that he was canceling commitments in the near future because of prostate cancer.

The original show, a huge success in South Africa that also toured Britain, featured composer Todd Matshikiza and a mostly white management and production team. Nelson Mandela, an amateur boxer, attended the opening night of the musical that embodied the potential for multi-racial collaboration at a time when South Africa’s racist rule was staunchly enforced.

By skirting the injustices of apartheid, the original “King Kong” production dodged any move by authorities to shut it down. Similarly, the musical could have faced a crackdown if white actors had joined the all-black cast on stage, said Pat Williams, who wrote the original lyrics.

Williams, who lives in Britain, said a big difference between the 1959 and 2017 shows is that the current actors are professionals, while some in the old cast were inexperienced with theater but all too familiar with the grit and hardship of life in apartheid South Africa.

“It was their own lives they were putting on the stage,” she told The Associated Press. “The result was electric.”
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According to the American Medical Association, a big anti-smoking effort launched more than 50 years ago saved more than 8 million lives in the US. Before 1964, when the official data on smoking and its link to cancer was published, 42 percent of American adults smoked a cigarette on a regular basis. Now, just 18 percent do. VOA Russian correspondent Masha Morton traveled down America’s Tobacco Road to see how the area is transforming.
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Batman, Superman and Spiderman aren’t the only superheroes of the comic book world. At New York Comic Con, plenty of women were on hand to remind the industry of their own hero status. VOA’s Tina Trinh reports.
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