Two years on, Turkish dissident remains behind bars 

Osman Kavala. (AP)
Updated 23 October 2019

Two years on, Turkish dissident remains behind bars 

  • “It is not Kavala who has lost his freedom and independence, it is the Turkish judicial system,” his lawyers said in a statement.  

JEDDAH: The situation of many peaceful dissidents who are still in jail in Turkey, like Osman Kavala, who recently completed his second year in pretrial detention, is still criticized by Western countries and human rights defenders.  

The solitary confinement of Turkish philanthropist, activist and businessman Kavala is described by many as a “Kafkaesque” experience, as charges brought in the indictment against him are still without concrete evidence.  

Kavala, who was put behind bars over his alleged involvement in Gezi Park protests in summer 2013 to “overthrow the government” by funding and organizing the whole process, had his third hearing on October 8, but the court ruled that he should remain in custody. 

“It is not Kavala who has lost his freedom and independence, it is the Turkish judicial system,” his lawyers said in a statement.  

In the indictment, Kavala is accused of providing milk, fruit juice and pastries as well as gas masks to protesters.  

The fact that he was on the board of the Turkish branch of George Soros’ Open Society Foundation at that time was also a source of suspicion. But he denied that the charity had ever provided financial support for the protests.  

The next hearing for the case is set for December 24-25.  

Some of his friends shared with Arab News their thoughts and feelings about the lengthy judicial process. 

“It is hard to put into words how much influence one person can have at changing historical and current perspectives,” Louis Fishman, an assistant professor at City University of New York, told Arab News. 

“Kavala is man who has dedicated his life to creating spaces within the Turkish public sphere, where narratives of Armenians, Kurds, and other silenced groups can find a place. This soft-spoken man has contributed greatly to the development of a civil society in Turkey and even after his imprisonment his work is being carried out through multiple non-profit organizations and art galleries,” he added. 

Fishman also said that the presence of Kavala was missed, but his legacy continued, and all his friends and supporters were waiting for his release and his return.  

Aysen Candas, a Turkish political scientist from Yale University, is another friend of Kavala who took part of the international campaign to raise awareness of his incarceration.

“Osman Kavala’s unlawful imprisonment, the violation of due process at every step of his detainment, bogus charges against him, the ridiculous nature of what is presented as ‘evidence,’ namely illegally tapped phone conversations irrelevant to the charges, the fact that the indictment was submitted one year after Osman was imprisoned … are all plain facts about his case,” she told Arab News. 

According to Candas: “What renders Kavala’s imprisonment politically significant is his relentless defense of the rule of law, human rights, minority protections and his advocacy of implementing the standards of constitutional democracies in Turkey. 

“He was a firm, unyielding proponent of norms of rule of law and democracy and minorities, he lent a legitimacy to the political initiatives he was a part of,” she added. 

Candas also noted that: “While the activities of Kavala’s cultural association Anadolu Kultur have been highlighted and targeted by the false accusations that are scattered all through the ridiculous indictment against him, his imprisonment is not due to cultural activities but is aiming to attack the political meaning of these cultural activities, such as peaceful coexistence, such as dialogue and public deliberation, such as equal respect.” 

Candas thinks Kavala’s imprisonment reflects the new hostage-status of constitutional democracy in Turkey; the negation of not just the democratization efforts since the 1980s, but also of the secular republic, of cosmopolitan modernization, of Turkey’s efforts to become an international, law-abiding member of UN and of all international conventions that Turkey is a part of. 

“Osman is also a secular businessman, a member of Turkey’s top business association. His family is from the Balkans and they had arrived in mainland Turkey through the population exchange with Greece, so perhaps the secular identity, of those who established the republic in 1923, is being targeted and criminalized in Osman’s person,” she said.


Artists take a stand in Lebanon’s peaceful uprising

Updated 17 November 2019

Artists take a stand in Lebanon’s peaceful uprising

  • What blankets the walls of the ongoing 'revolution' in Beirut and other cities is art
  • For the protesters, public art is a means of communicating their political message

BEIRUT: Cries were heard in the town of Khaldeh, south of Beirut, on the night of Nov. 12. They were different from the sounds that have become the background noise of the Lebanese Revolution.

A soldier had killed Alaa Abou Fakher, a local official from the Progressive Socialist Party headed by Walid Jumblatt, a political leader of Lebanon’s Druze community, marking the third death in 27 consecutive days of protests.

The killing has escalated tensions that were already running high amid a nationwide protest movement that started off as a reaction to proposed new taxes before morphing into a veritable “people power” movement.

Protesters are demanding changes to Lebanon’s sectarian system of government, calls that have prompted the resignation of Prime Minister Saad Hariri and will likely lead to more departures.

Meanwhile, what blankets the revolution’s walls of Martyrs’ Square; the ring (the tunnel linking west Beirut to east Beirut); the ESCWA (the UN Economic and Social Commission for West Asia) boundary wall; the area next to Parliament; throughout Tripoli; and in countless other places is another form of protest: Art.

“The art we were trying to express has documented almost all the incidents of the revolution so far, day by day,” said Said Fouad Mahmoud, a graffiti artist who has been practicing for 11 years. “Some people are good with speech, others with song, and we raise our voices with drawings. I drew pictures of the moments that affected me the most: The role of the female in the revolution; the guy cleaning with one leg; and the first day of the revolution, with the flag and the fire.”

Graffiti by Said Fouad Mahmoud. (Supplied)

Many of the progressive-graffiti-laden walls fall under the umbrella of Iman Nasreddine Assaf’s Art of Change initiative, which she founded in May in partnership with local Beirut-based NGO Ahla Fawda and UK-based Where There’s Walls.

“Our purpose is to promote urban art to more than just the graffiti scene in order to spread important messages throughout the community,” said Assaf. “Our revolution walls are in support of, and part of, the demonstration and revolution. They are expressing people’s pain and demands and the impact has been strong. Art is the international language that touches all.”

Art has emerged as a favored medium of the revolutionaries to convey their political message. To this end, Art of Thawra (Art of Revolution), an Instagram page, is collecting and showcasing relevant artworks produced during the 2019 protests.

“There’s been a drastic increase in street art during this revolution,” said Mahmoud. “People are trying to send messages through their paintings. The art indicates how civilized people have been during the protests and how peaceful the revolution has been until now. I hope it will remain peaceful until the end. If it does, then it means art played a major role in this revolution because art is peace in itself.”

Lebanon’s contemporary art community has issued numerous statements regarding the closures of spaces, programs and exhibitions as artists, curators, and gallerists participate in protests for non-sectarian unity. Beirut’s art community had just assembled for the Home Works event when the protests began on Oct. 17.

The message from the organizers, Ashkal Alwan, postponing the event stated: “Artistic and cultural institutions and initiatives are in no way isolated from broader civic, political, economic, and ideological context but rather shaped as a result of and in response to historical events and their repercussions.”

On Oct. 25 the Beirut Art Center sent out a similar statement: “In solidarity with and participation in the popular uprisings taking place across Lebanon against the current systems of power, we the undersigned cultural organizations and structures collectively commit to Open Strike, and call for our colleagues in the cultural sector to join us.”

Another artistic expression of solidarity is visible at leading Lebanese art dealer Saleh Barakat’s space in the Clemenceau area of Beirut. On Nov. 8 he opened a show featuring an installation by Palestinian Beirut-based artist Abdul Rahman Katanani.

Graffiti by Said Fouad Mahmoud. (Supplied)

A series of temporary abodes made using painted scrap metal and wood, and surrounded by barbed wire — much like the surroundings of the Sabra refugee camp where the artist lives — were stationed throughout the gallery.

Katanani’s immersive and precarious installation, on view until Jan. 4, asks the question: What future awaits Lebanon?

“Many are now trying to figure out a good balance between getting their work done and participating in the public upheaval,” said Basel Dalloul, founder and director of the Dalloul Foundation. “Cultural production in all its forms can and will be one of the economic drivers of a future Lebanon.”

Ayman Baalbaki, one of Lebanon’s most recognized painters, “is not involved in creating art right now,” said Barakat. “He is going to all of the protests and is completely involved in the need for political change.”

The design duo David Raffoul and Nicolas Moussallem, whose studio goes by the name David/Nicolas, said in a statement: “What’s happening today is very important for all of us Lebanese who would like a brighter and honest future where corruption is not surrounding us.

“We are trying to work but it is not easy. Right now we are focused on how we can help our country.

“On the other hand, creativity is stronger because the revolution gives you such a push.

"Most places are closed and open spontaneously. Thank goodness for social media, so that we can show what we are doing to the world.” 

Marwan Sahmarani, a Lebanese painter known for his bold abstract canvases replete with their gestural brushstrokes and vibrant coloring, noted the difficulty of working during a time of turmoil.

“It’s a disturbing moment for everyone,” he said. “There are many feelings, good and bad. I divide my time when needed between my studio and the street. But what do I paint that can be relevant now and not fall into a journalistic rendering of current events?”

Individuals in the creative scene have joined hands in camaraderie to produce several initiatives in solidarity with the protesters. One is Nour Al-Thawra, staged by Sara Beydoun, founder of Lebanese fashion house and social enterprise Sara’s Bag, and her friend Mariana Wehbe.

On the evening of Nov. 6, a group of Lebanese women gathered in Martyrs' Square, each carrying a lighted candle. “Let’s light a candle for the strength we have shown and the resilience that will never die,” wrote Beydoun on her Instagram account. “Bring a candle and your peaceful prayer and let’s combine all of our strengths to light up Martyrs’ Square.”

Beydon told Arab News: “We all want one thing — the Lebanon we dream of.”

Wehbe agreed. “Sarah and I have been on the ground since day one,” she said. “Like every Lebanese woman from this revolution, each one of us is trying to find her way to help, support and move this forward.”

The candle-bearing crowd of women, which the pair turned into a moving video that went viral, was driven by the need to create a “peaceful symbolic prayer.”

“It was a prayer for our country, for our future, for unity, no matter where you come from and what your religious beliefs are,” said Wehbe. “It is a symbol of unity and protection for love, compassion and for our home, Lebanon.”