On What Would Have Been the Launch of Cannes, a Celebration of 26 Film Festivals — and 26 Festival Directors | Filmmaker Magazine

&The Cannes Film Festival and Market

by Kaleem Aftab
in Festivals & Events
on May 12, 2020

Film festivals are all about a community coming together to celebrate an art form that we all love. They were one of the first group of events to cancelled when the coronavirus began to spread. The current crisis in the film industry (and across society and the economy as a whole) — the job losses and closures — made it difficult to publish my look back over my year in film festivals, as I’ve done on an annual basis for Filmmaker since 2014. (Also, I had broken my finger over Christmas so was unable to type for three weeks, which is when I usually pen these articles!) Plus, because last year I’d been to 26 film festivals, a record for me, the piece also took a long time to write.

Twenty-six film festivals is a lot. In December of last year, I promised my partner that in 2020, I would go to fewer festivals. Little did we know that my hand was going to be forced by the tragedy of a virus pandemic. Looking back, I’m so glad I went to so many in 2019, seizing the day like I was in the Dead Poets Society.

Sitting here right now, as Cannes would have begun, I believe we will be lucky to see a film festival happen in a traditional way again in the Fall — if then. For all the efforts to put festivals online, there is nothing that matches the intoxicating atmosphere and excitement of attending. That’s why I go to so many of them. I miss hearing a projector whir and seeing a film for the first time, listening to filmmakers talk about their projects, the conversations with fellow attendees, the pitching of projects, those celebrating great reviews, others commiserating. I even miss the 10-minute standing ovations made more out of courtesy rather than enthusiasm. I’ve even started doing this at home now.

So while it may seem odd to have a look back at 2019 film festival season in May, it also seems so fitting to publish today. Absence has made the heart grow fonder. Right now is a time when the role of film festivals is being analysed more than ever by festival directors, as they decide what is essential, what they have to keep, or for some, what they can replicate online. Most importantly, film festivals have to comprehend how can they stay relevant when the spectacle that is their heart is on life-support.

In my mind, there is nothing quite as exhilarating as attending a film festival. I look forward to the moment of being able to participate in more than 26 festivals in a year. (Just don’t tell my partner!).

The festival director is the public face of a film festival. They guide the program and set the agenda. But who are they? In 2019, I tried to meet as many festival directors as possible, and from time-to-time chat about the poster of the festival. I wanted to know if I could see the personality of the festival director at the event. Little did I know when I started this process in January that I would go to 26 film festivals, either as a journalist, moderating Q and A’s or giving talks on festival strategy. 

Tromsø International Film Festival 

Festival Director: Martha Otte

American Martha Otte first worked as a volunteer at the Tromsø International Film Festival in 1998. By 2005 she became festival director. 2019 was her last year as the position at Tromsø  I’ve known Martha for several years, first meeting her at the now-defunct Abu Dhabi Film Festival. We’ve bonded over films. I’ve appeared on the jury at Tromsø in the past, and this year, she asked me to do the Q&A sessions with Canadian filmmaker Philippe Lesage, following screenings of his excellent coming-of-age drama Genesis.

It takes a kooky personality to want to live in the Arctic Circle, where during the film festival, the sun never quite rises above the horizon. Despite all the darkness, the irony is that Otte is an insomniac. Luckily she’s found a profession where staying up in the dark is a necessary component.

Otte says of her philosophy to running the festival: “We are especially interested in films that are ‘off the radar’ and are not standard festival fare, which doesn’t mean experimental; it just means we want to make our own discoveries.”

I was too busy buying trinkets with Gaspar Noé and chasing the Aurora Borealis to make too many movie discoveries of my own. It’s that kind of place! The one discovery I made was Egil Håskjold Larsen’s Where Man Returned, about a lonely old white man lives in the Arctic wilderness with his dog. He listens to football and shipping news on his radio. It was a metaphor for so many conversations had at festivals this year. 

One thing that did catch my eye was the poster of the festival. It featured an image of a figure dressed in a thawb with the face drawn as the Tromso Film Festival logo. The poster was designed by Christopher Ide (AKA Doffa), of design office Tank, and he has been the go to guy for the festival for a number of years. The image was smart on so many levels. Since 2001, Tromso and Gaza have been twin cities. The festival also had a strong focus on Arab cinema with screenings of Sameh Zoabi’s satire of the Palestinian-Israeli conflict Tel Aviv on Fire, Dalia Kury’s prison recreation documentary Privacy of Wounds, and a section called Arabiyat — the Arab word for women — celebrating female filmmakers from the region and programmed in association with Morocco’s Cinematheque de Tanger.

Rotterdam International Film Festival 

Festival Director Bero Beyer

The next festival I attended was another festival where the festival director was looking to move their life away from festivals. In July, Rotterdam head honcho Bero Beyer announced that he had accepted a job as CEO of the Netherlands Film Fund, commencing in March 2020, after this years’ edition. More recently, it was announced that his replacement would be MUBI acquirer Vanja Kaludje, who had previously worked for the festival. 

2019’s edition was Beyer’s fifth in the post. He’s a confident guy. In the role, Beyer has grown the industry side of the festival and increased the focus on experiences rather than just watching films. The festival takes place when a lot of American eyes are on Sundance, but he’s keen on appealing to the 180 ethnicities found in Rotterdam. “The first thing we want to get right is that the program is representing the world and not just one side of the world,” Beyer tells me on his way to a Claire Denis seminar.

Beyer says of his philosophy to the festival, “We do what others don’t. We always go one step further. What makes us special is the stuff that is slightly crazy and on the fringe of things. People show up to watch avant-garde.”

The film festival posters are part of a campaign living under the umbrella of “Planet IFFR.” Planet IFFR is a concept formulated in 2017, where the emphasis was put on the number of people involved in the movie making process. The various staff on a set are in Rotterdam’s eyes, representive of the cultures and peoples of the world. “This year, we asked what makes us alive? It’s more than facts and truth because they are long gone, facts don’t matter – it’s emotions.” 

“In the poster campaign the faces and the words used to describe the expressions being pulled seem to conflict. There is a happy face, but the poster says angry. These seemingly oppositional emotions are reflected in the films we show. Our cinema doesn’t give you an answer – it gives you a question. The films don’t give you a feeling you have foreseen – they give you an emotion you have not anticipated it’s like a rollercoaster ride without a seatbelt.”

A case in point is Sacha Polak’s Dirty God, an international co-production that blurs fact and fiction by having Vicky Knight, who was a victim of an acid attack, play the victim of an acid attack. Yet from this starting point, a cinematic truth emerges, very different from reality. Or Present.Perfect, the Hivos Tiger Award winner, which is made up of footage of China taken from the Internet by Chicago based Chinese director Shengze Zhu.  

Beyer admits that the pluralism highlighted in the program could be better reflected in the diversity of the staff, stating, “That’s an on-going process.” And one from next year, he’ll presumably be pushing his successor to achieve.

Gothenburg Film Festival 

Festival Director: Jonas Holmberg

Gothenburg is Scandinavia’s biggest film festival, and just like Scandi Noir, it remains something of a mystery to me. It’s the one festival where I make an extra effort to watch the pitching session, where some filmmakers talk about the movies that they intend to make, and also others talk about the films that are deep into post-production. It’s intriguing as there is always something that ends up at Cannes, and not always what you expect. Usually, I hate seeing movie trailers or knowing anything about a film. Nonetheless, somehow I can listen to a Scandinavian auteur talking about their project in intricate detail, and yet see something entirely different on-screen. Is this because of what they say, or how I listen?

I did not know artistic director Jonas Holmberg before the festival. That despite the fact he’s been the head honcho at Gothenburg since 2014, when he was promoted from his position as international film programmer, and I’ve been to previous editions under his watch. His route into festival life was as a film critic. It’s interesting as that once familiar way into programming has gone into decline as dedicated film programmers appear, graduating from film schools, which have recently started hosting courses in curating and curating theory.

Holmberg seemed to be the quintessential Scandinavian when I met him. He dresses well and says all the right things. My younger self would have looked at him like the epitome of cool, but now I find him a little awkward.  He’s also good-natured. When I start by asking him about his poster, his reaction is a sincere, “How wonderful!” There’s a lot to like.

“We have a tradition of asking a local artist to design the poster,” states Holmberg. “They’re given a blank slate to design whatever they come up, and they come back to us with their design. It’s one of the most exciting days of the festival seeing what they have designed.”

It’s a very relaxed way of doing things and it has been that way since 1992. It also means that a look at the festival poster archive is like a journey to a gallery. The theme of the 2019 film festival was Apocalypse, which might explain how I came to watch a movie, Aniara, from the inside of a coffin. Jesper Waldersten was the artist chosen to create the one-sheet and created an eerie yet beautiful work in the style of horror and space movies from his childhood. Think, Alien, David Lynch and John Carpenter, then throw in a bit of Bergman, think of that image in black and white, and with a face populated by figures looking like they stepped out of Jake and Dinos Chapman’s Hell. 

The Scandi vibe was also apparent in Swede Anna Eborn’s fantastic Transnistra, a film that felt like the ’70s even though it is a breakaway state on the border of Moldavia in present day.

Berlin Film Festival 

Head of the Berlinale: Dieter Kosslick

It was Dieter Kosslick’s last stand at the Berlin Film Festival. The year before many prominent German film industry figures called for a change at the top of the Berlin Film Festival arguing that the festival had become irrelevant. The call was heeded and before the festival it was long since announced that his 18th edition would be his last. Kosslick is a unique character. His style and matter is defiantly old school, and eccentric. In his final year, Kosslick programmed a festival that was staunchly unapologetic. No bones thrown to those who criticised him. So the festival was full of challenging choices and featuring buried treasures for those who looked deep into the program. It will be interesting to see how and if that takes changes under the new guard. 

Kosslick attended an event that I organized to celebrate the life and work of publicist Richard Lormond, who had died from an illness a few months before the festival. Kosslick took time out of his busy schedule to say some kind words, and it served as a reminder that the work of a festival director at a festival is more than about selecting films and is also about social interactions. Acknowledging the work of those who help contribute to an event’s success is important as it takes many to put together a great festival.  

Later in the festival, as we sat down to talk about his legacy and the Berlinale poster, I couldn’t help but think that retirement had come at the right time for Kosslick as he was being outpaced by changing times. 

“The bear is our symbol. And for a couple of years now, Swiss artists have been doing our poster,” said Kosslick. “For a couple of years now, the bear has been cruising around going to different locations in Berlin. A lot of people have been asking who are these bears? We thought because it’s the end of my tenure, we would lift the secret of the bear. When the bear takes off his head, it’s the audience that is underneath. The bear is normal people who are on the way to the Berlinale.”

Over the past 18 years, he has worked with many agencies, and they all come up with very different designs, which is evident in the change in the style of the posters every few years. 

“This year, a discussion arose because there was a black person in one of our costumes and we talked about what would be the symbolism of having a black person in a bear costume,” admits Kosslick. “Would it look like discrimination? We wanted to show the variety of the audience that attend the Berlinale, but we have been afraid that if we used it, it would create a discrimination debate. Two people on our poster were from our staff were used as well. I don’t know all of the people personally. We thought about putting me in a costume, but in the end, we believed it was too much.”

The Berlinale like many other festivals this year signed the 50/50 by 2020 pledge to pursued gender parity. “The pledge was a political aim, but I think we are far ahead at the Berlinale,” says Kosslick. We have seven films from female directors in competition and with our staff and selection committee, there are a lot of women in prominent positions.’

Indeed, the film that stuck out most at the festival to my mind was a film screened out of competition, because it had been at Sundance, Joanna Hogg’s The Souvenir.

Stockfish Film Festival 

Festival Director: Marzibil Snæfríõar Sæmundardóttir

Taking place in Reykjavik, Stockfish Film Festival is an event that wants to showcase Icelandic films to industry people to film exhibitors, programmers and distributors from around the world. Several Icelandic bodies come together to promote their wares, and it’s a great excuse to go to one of the most beautiful places in the world, with a burgeoning and exciting coffee scene. Yup, already by early March, coffee was my fuel.

The main two strands at the festival are an industry-pitching event, which has an overlap with Gothenburg and a competition programme of short films. There are also screenings of best of the fests, aimed to get the local audiences out of their warm wooden houses and into the fabulous cinema Bíó Paradís. From floor to high ceiling on one wall of the cinema are some fantastic posters designed by local artists to coincide with the release of huge movies, so it’s no surprise that Stockfish take their poster design seriously as well.

Sæmundardóttir has been the Festival Director of the Stockfish film festival since 2015. Before that, she was a writer and director. It was her love of film, and life, that led to her taking on the festival director role. A social butterfly, she brings a lightness and fun air to the event and promoting movies.

“We use a young designer and last year he came up with a version of yellow, which we liked a lot, and that has become the color of the festival,” says Sæmundardóttir. “The poster is exactly the same as last year, except for the dates!”

This attitude seems about right for a festival that knows what it wants to be and has a focussed goal. It’s a festival that has a great atmosphere, mainly because all the films take place in one cinema. They pick at most 25 films, which they consider the best of the fests, in addition to the industry events. The one thing they want everyone to watch is the local short films, which is a good way to start taking notice of local talent, and for local talent to realise that they’ll end up needing to make European co-productions if they want filmmaking to be their job. 

Bergamo Film Meeting 

Artistic Director: Angelo Signorelli

I love going to festivals that are off the beaten track. The Bergamo film meeting is one of those delightful festivals where much of the joy is in seeing classic movies on the big screen. There are new films that play, but I was more interested in seeing Jean-Pierre Léaud turn up to a screening of The 400 Blows, as part of a retrospective on his films, an exhibition of photographs from the set of Pier Paolo Pasolini’s Arabian Nights and a retrospective on filmmaker and cinematographer Karpo Godina, an exponent of Yugoslavia’s “Black Wave.” In 2020 they were set to take an in-depth look at Jerzy Skolimowski. It’s a festival that loves outsiders. 

The desire to take a new look at the past is imprinted on the festival’s poster, which gives us a classic French New Wave shot of a young Léaud on the set of The 400 Blows in triplicate. Festival director Angelo Signorelli, who helped found the festival, struck me as a laid back, conscientious type. The easy-living style is one that he is happy to replicate at the festival with a communal ethos. A committee seemingly decides everything. No wonder it’s called the Film Meetings, because, in my two days in Bergamo, it felt like a shared experience, one where good coffee shops were not too far away and talking about films was as important as watching them. 

Signorelli had a similar attitude to the marketing material, “The poster is a collective choice. We liked the image a lot this year. It’s cinematographic, suggesting movement and different perspectives. The central focus is on the repeated image, which is also out of focus. In a way, it speaks about the complexity of cinema. How by looking at the cinema of the past, and the present, we see future trends. It reflects the multiplicity of the sections that the festival has.”

For the past four years, SUQ Republic has designed the poster. “They really understand the philosophy of the film meetings.”

Qumra  

Festival Director: Fatma Al Remaihi

The Doha Film Institute has been doing great work over the years, and industry gathering Qumra continues to be a success. It’s often a sign of confidence of an organisation when they are not afraid to admit to divided opinions and frank discourse. The following conversation between Festival director, Fatma Al Remaihi and DFI’s Director of Strategy and Development Hanaa Issa about the poster for this year’s event was one of my favourite moments of the year. 

Fatma: These images [on the numerous posters] represent the projects that we have, the jewels of Qumra. The principal image for the main poster and front of catalogue is from the first Qatari film in post-production and for us that is huge.

Hanaa: The circle in the poster is kind of our symbol. It reminds of the Q for Qumra and also the camera lens.

Fatma: But the question we had was, do we want to use an image that represented peace, or did we have one that was about war?

Hanaa: We had a long debate.

Fatma: We had different opinions. Do you want to tell him yours?

Hanaa: We had a debate. There was this one behind you, and in terms of artwork, it worked well with the colour and catalogue. I surveyed the office, and some of us felt that highlighting on the book of the projects and on the main catalogue an image of soldiers and war, especially of soldiers killing the farmers in Mexico, that this was perhaps the wrong message to send out to the world. We opted to go for something more peaceful. But then we had this debate around the fact that we do live in a hostile world, there is a lot of unfairness and injustice. Even though we want to highlight this, and make it part of the conversation, I thought to put an image that represented hope was more suited to who we are at Qumra, especially as our projects already contain a lot of stories about war and refugees.

Fatma: Whereas I thought that the world is a mess, and we should highlight it and not be afraid of it, we are not celebrating it, we are highlighting it. We spent the whole day with this discussion.

Hanaa: We argue all the time. We’ve known each other for a long time.

Fatma: It took the whole day this discussion. Going into work that day, I knew that we were going to have this discussion.

Hanaa: Me too, I ate a good breakfast, so I was ready to stand up for my view.

London Taiwan Film Festival UK

Festival Director: Aephie Huimi

I went to the opening day of the inaugural festival. They have a tie in with Stockfish, patly because Festival Director Aephie Huimi has strong links to Iceland and Taiwan. The opening was the UK premiere of Tsai-Ming Liang’s VR cinematic experience, The Deserted, with the director in attendance. I’d inadvertently had a hand in this happening, as I met Huimi through a producing pal friend of mine a number of times. When she revealed she was thinking of putting on a Taiwan Festival in the UK, I immediately mentioned The Deserted and said that she had to screen it. Little did I know that they would then have a retrospective of Liang’s work and he would come to London. It was a small but perfectly formed festival, which is how these looks at national cinema should be.

At first glance, I didn’t know what to make of the poster which seemed like a lot of undecipherable elements around an alien looking sea creature. Then Huimi informed me, “We wanted the poster to be as cute as possible.”

The poster designer, Ting Cheng, was also at the opening night party added, “She wanted something that would represent Taiwanese culture. I wanted something multicultural, and so we got a sea monster drinking Bubble Tea that is made up on the Taiwanese alphabet, which is full of symbols and these different shapes are representative of different cultures.”

Huimi adds, “You cannot define Taiwan in one shape, so every year, the festival will take on different forms, and that is why the sea monster is significant.”

All of a sudden, the poster took on a profound meaning that I’d not been able to see. It was a good reminder, not just of the value of art, but the importance of listening to others, and, of course, reading critics to elucidate and fill in gaps of knowledge. 

CPH: DOX 

Festival Head: Tine Fischer

“The posters for me are part of the core DNA of the festival. I’m so involved in the posters in a way that drives people mad. When we started working, we had external graphic designers, and now I hire designers so that they are employed inside the organisation and work with me for months! Each time I used agencies, I ended up being in massive conflict with them, mainly because, for me, it’s so delicate what you do with posters. When you said posters, I thought this is so fucking spot on, because it’s a nightmare each year, really a nightmare, because it’s challenging to find the balance in the posters from what I believe is the core DNA, namely a very active civic voice when it comes to political activism. You’re addressing something that people need to react to, not only will this look nice emotionally, but really react to it politically. Then it also needs to reflect an artistic profile that deals very much with non-fiction as cinema and as art. It can’t be a poster that will resemble an NGO perspective. So that balance has to be that it’s highly political and activist but also speaks with a more contemporary art, conceptual language. Then it needs to appeal to our audience, which is from young hipsters to grown-up decision makers. It’s a headache because it’s so difficult.”

“This year, I worked with the same graphic designer that I worked with for the last few years. So he works in-house for half the year, being a part of the process and understanding what the film process is about, but also what kind of films we will have. He saw climate change would be a big issue, but how do you do a poster on climate change? That’s almost impossible as all images relating to climate change have been used and overused. Then he came up with this image, with a woman’s breasts that have been sunburnt basically, but that makes it delicate to put out in public. It’s not overly clear what it’s about, but it is about someone who is not careful. We have the Morse code symbols on it to reflect a universal language, and then some images show images of climate change, there is a lifebuoy for example. There are lots of messages in that picture.”

I had started to feel like I’d seen most approaches to festival poster design, and just as I was beginning to tire of asking festival directors about it, CPH: DOX’s Tine Fischer blew me out of the water. But that will come as no surprise to anyone who has watched the festival over the years. She has taken the bull by the horns during her long tenure at the festival. She boldly changed the dates of the festival from the Fall to the Spring when she felt that the market was too crowded. The film choices have been radical, and she’s established CPH: DOX as one of the most exciting documentary festivals. 

The festival was also where I conducted one of my favourite interviews of the year, sitting down with Alex Winter. We discussed Bitcoin and The Panama Papers, as well as sexual abuse in the film industry. And of course Bill and Ted, we drank coffee together a couple of days after the announcement that he would appear in Bill And Ted 3. Of course, it was most excellent.

Panama Film Festival 

Artistic Director: Diana Sanchez

A few weeks before the Panama film festival took place Toronto International Film Festival announced that Diana Sanchez would be taking up a position in Toronto full-time. Much of Sanchez’s fantastic reputation that led to that Canada role has come from how she built up the Panama Film Festival into one of the most vibrant, forward-thinking and fun festivals in the Americas. Of course, from my side, it helped that Panama is home to Geisha Coffee, some of the best and most expensive beans on the planet. A competition-winning brew that would set you back $75 a cup in San Francisco retails for $9 in Panama. It’s still a lot to pay for a coffee, given that great blends retail at $4 here, but it’s not often that one can treat yourself daily to the champagne of the coffee world. The coffee and the festival were marvellous. This year it gave a great platform to films from Guatemala. It showcased how artists are trying to comprehend the human catastrophe caused by the years of dictatorship and, also the American support to the dictatorship. There is a similar sentiment in Panama where President George W. Bush ordered an invasion in December 1989.

In total contrast to the approach in Copenhagen, Diana Sanchez, in a somewhat more laidback manner, informed me that she didn’t get involved in the production of the poster. She is someone who knows what she likes to do and is happy to delegate the other jobs to others. She advised me to chat with Pituka Ortega, the Director and founder of the Film Festival, who was involved in the creation of the poster and appointed the new team that will be in charge of the 2020 edition.

“It’s the first time that we have worked with Cisco Merel, a Panamanian artist to create the poster,” Ortega says. “He works with geometrical shapes, and one of his masters is Venezuelan artist [Carlos] Cruz-Diez. When we spoke to him, he brought this concept to us that within these geometrical shapes that conveyed cinema. Artists are artists, and we just loved it and went with it. It’s a detachment from everything else we have done, and we loved working with an up-and-coming artist. It has opened a window for us to work with other up-and-coming artists from Panama. The unifying factor will be the logo. It represents the festival as a platform for new ideas and talent just like we are doing for a central American and Caribbean platform that we have invested so much energy and thought to, and our resources. ”

CineMAS 

Artistic Director Joe Wihl

Formerly, the United Arab Emirates was host to not one, but two great festivals. Then in 2015, the Abu Dhabi Film Festival closed after eight editions, and last year, far more surprisingly, the Dubai Film Festival closed. Fans of cinema in the UAE went from boom to bust. So it was great to see cinephiles take the matter into their own hands and launch an independent film festival at an excellent venue, Manarat Al Saadiyat (the MAS in CineMAS). It was a film festival designed by cinephiles for cinephiles that lasted a joyous four days, with master classes, workshops and screenings. The festival is a demonstration that good taste can be more valuable than finance.  

“The poster was made in Abu Dhabi by a branding agency who designed all our collateral,” Wihl told me. “We wanted a poster that connected film, cinema and the art world. We are lucky to show films that people don’t normally get to see, so we wanted it to reflect the artistic nature of the festival. The branding agency came back to us with three options, and we chose the one used because the brush strokes showed the interconnecting nature of the art world and film. We have five different colours that we used on the posters to reflect the diversity of cinema and the wide selection of films from around the world.”

Admittedly, it is hard for me not to like the festival director, since I played on the same soccer team as him for several years. He scored many goals in his time, so I wanted to go to support the festival. This festival may end up being a one-off, as rumours abound that Abu Dhabi may re-launch an international festival in 2020. But many rumours circulate here. 

Cannes 

Festival Director: Thierry Frémaux

Cannes makes a massive fanfare out of its poster. It is published before any film announcement and widely shared on social media. Arguably, this year’s poster featuring the recently departed French legend Agnes Varda was the most popular one-sheet in its history. And that is saying something! A great article by Sight and Sound’s Isabel Stevens argued: “Cannes has finally woken up to the power of the poster.” She posited that the photo-shopped reinterpretation of the iconic image of Varda standing on top of cinematographer Louis Stein when filming her first feature La Pointe Courte was created to demonstrate that Cannes is changing. Stevens argued, it “signals that the festival has, at long last, clocked that it needs to change. Does this change go deeper than a clever and overdue rebranding exercise? Only the number of female-directed films in future editions of the festival will tell.”

Sadly, not long after the poster release, the competition announcement came, and this change seemed to be an illusion with complaints circulating about the lack of female directors. The festival still snagged the best film of the year, Parasite, and one of the many joys of the film is the range of great posters that Bong Joon-Ho’s film has inspired by regional distributors around the world.

As for the likeable Frémaux, every year he proves how good he, and his team, are at their job of selecting the year’s best films. Nonetheless, using a classic image from the past shows how much he still looks back when so many people are crying out for him to look to the future. He is an enigma, just like his festival, whose policy to exclude films not guaranteed an exclusive first run in French cinemas seems more and more robust with every passing year. So far, it’s Netflix and not Cannes making changes to how they operate. 

Kultur Symposium Weimar

By June, unsurprisingly I had had my fill of film festivals, so it was a delight to be invited by the Goethe Institute to attend their second Kultur Symposium Weimar. It was an invite-only event that contained talks, performance art, films and debates.

For three days, more than 300 participants from all over the world came together at the Kultursymposium Weimar, including representatives from science, culture, politics, business, journalism and publishing. The first Kultursymposium Weimar took place in 2016 on the subject of The Sharing Game – Exchange in Culture and Society. The second edition from 19 to 21 of June 2019 was entitled Recalculating the Route. It was an incredibly inspiring event, and great to be somewhere where I did not see the same faces, and people were talking about social issues without the conversation being bound to a film. I also didn’t talk to anyone about the design of the poster for the event. Indeed from this point on in the year, my observation on the one-sheet became largely my own again. This event felt like a real marker separating the first part of the year focussing on the branding to the second part of the year, informed by trying to reconnect with the idea of looking at how film festivals relate the realities of the world and present the future. Of course, there were movies, but this event was really about new ideas and building better social groupings. 

London Indian Film Festival

Festival Director: Cary Rajinder Sawhney

The London Indian Film Festival celebrated a decade. It was a big year for Festival Director Cary Sawhney as he also collected an MBE for services to the film industry. His work is getting noticed. I dipped my toe into the festival attending a screening of The Flight, where it was my pleasure to be asked to host the Q and A with legendary Bengali Filmmaker Buddhadeb Dasgupta. It was a lovely event held at the Cine Lumiere in London. It reminded me how lucky I was to be living in London, where almost every night there is some great film festival of some sort or some fantastic filmmaker giving a talk. For the festival to reach ten years, and be more significant than ever, takes some doing.

Oh and I don’t think I looked at the poster. Sorry, Cary! And, really I need to stay in my home time more often! 

Nordic Youth Film Festival

Festival Director: Hermann Greuel

Having started the year in Tromsø, for a week when the sun never rises above the horizon, it was nice to be back in the Arctic Circle for NUFF when the sun never dips below the horizon. I mean, it’s cold whatever the time of the year one is in the Arctic, but on a clear day, when you can actually glimpse the sun it is gorgeous. At NUFF, the efforts to build a politicised film community are what brightens-up every day of this youth orientated festival.  

NUFF is an annual short film festival and film workshop for young filmmakers up to the age of 26. These talents get split into several groups under the guidance of a filmmaker. They have a week to make a short film from scratch. On the final weekend, the freshly made short films screen as part of a short films festival. The mentors included producer Racha H Larsen and filmmaker Egil Håskjold Larsen, whose film Where Man Returns opened the Tromso International Film Festival. The prolific award-winning short filmmaker Mahdi Fleifel, Anders Emblem, whose film Hurry Slowly I had missed at Tromsø International Film Festival but saw at a special here. Inuk Jørgensen from Greenland and Virtual Reality expert Marta Ordeig were also in charge of a group, and composer Rune Simonsen was producing music for the images.

I delivered a film appreciation seminar and hosted a masterclass event with Mahdi Fleifel talking about his short films, which we screened in chronological order, as well as hosting Q&A sessions with some of the talents attending the workshops It was an awesome time!

Festival director Hermann Greuel is such a great personality and so friendly. I wish that I could wipe away the years, and be young enough to be accepted as one of the participants. It’s a truly great event, and one that seemed to be practising the philosophy preached at the Weimar Kultur Symposium. The future is sunny. 

Karlovy Vary Film Festival 

Festival Director Karel Och

Karel Och is one of the great festival directors of our times. He has good taste, hosts a well-respected film festival that has great talents, juries, parties and writing courses. So what’s not to like? Well, somehow on the first night I was put into the world’s most noisy hotel, above a party that went on until 4 am every night. Add to this that the Internet in the basement house in Parasite worked better than it did at the hotel and I wasn’t a happy camper. Thankfully, the next night they moved me to the edge of town, and the smile returned to my face.

Apart from that blip, I saw many unique films. HBO put on a great party. I’d seen so many films at Cannes, that I wasn’t as side-tracked by catching up with Cannes movies as I have been on past visits to Karlovy Vary film festival. It’s a great place to get a taste of films from Eastern Europe and the Middle East. There was an excellent retrospective taking a look at the works of Egyptian maestro Youssef Chahine films. Even though I haven’t been for a few years, the festival seems familiar. Even the poster for the festival is the same design, this year the colours were changed to be black and white. So why is it, that I always leave Karlovy Vary with a but…

Every time I get home I think I’ll give Karlovy Vary a skip next time. But that’s usually because every second year clashes with a big soccer tournament. The festival will be happy that in 2022, the world cup is moving to the winter because of the hot Doha summer, that will probably be the year I’m not invited! The festival has a great press dinner, and at the main festival centre, there is a bar where everyone congregates. However, the festival still manages to get it wrong because it separates the industry, press and guests from each other. There feels like several festivals going on at the same time, which is a shame as really Karlovy Vary should be about breaking down those barriers between the different parts of the film community rather than reinforcing them. 

Locarno Film Festival 

Festival Director: Lili Hinstin

Locarno feels like a bit of a blur. It was the first year that Lili Hinstin was in the Festival hot seat. Her philosophy seems to be that evolution and not revolution was the best way to get her feet under the table. On my first night by the magnificent lake, I met her at an official dinner attended by Palme D’Or winner Bong Joon-Ho and also hosted were those programmers and filmmakers who put together the excellent Black Light retrospective. On the Industry side, the push to support filmmakers from around the world, especially from those areas without traditional support for independent cinema remains strong.

The poster also evolves slightly every year, but it noticeable evolved that little bit more this year, the main indicator of changes. What I like about Locarno is the use of the yellow and black leopard spots, which are always such a unique identifier. It’s also fun. There have been some inventive variations on the leopard theme, especially the kiss poster from the 59th edition in 2006, which remains one of my all-time festival favourites. This year, there was a bold reinterpretation that saw far more playful brush strokes, creating a more abstract version of the leopard, but one that seemed more playful, child-friendly and looking to the future. With it being Lili’s first year, it was understandably difficult to find time to catch her for a conversation on the direction of the festival, which I’m looking forward to doing in 2020

Locarno is a festival that has so much going for it, from the magnificent screenings in the Piazza Grande of more commercially minded films to the selection of more challenging fare in competition and elsewhere. Yet, as with so many other festivals, it has suffered from sales agents no longer using the film festivals as their primary location to source and sell movies. It will be interesting to see how Karlovy Vary and Locarno tackle the hurdles ahead, especially on the side of promoting cinema rather than movies. Festivals such as Locarno and Karlovy Vary have begun addressing this issue by being more supportive of a broader range of critical voices. Still, there must be more effort to make audiences feel part of the movie industry and encourage spectators to make bolder choices, not just at film festivals, but on a Friday night date.

Venice Film Festival 

Festival Director: Alberto Barbera

In the last couple of years, it’s been a surprise that the Venice Film Festival hasn’t just found a space to put the Netflix logo in the middle of the poster, given the preponderance of films from the streamer. I get it. Venice has been the primary beneficiary of the stance taken by Cannes on streaming platforms failure to heed cinematic windows, and they have reaped the red carpet rewards, with more stars in attendance and more media interest. It’s undeniable that Alberto Barbera has done a great job in making Venice a place to launch films, especially award contenders. Although it’s likely that for the second year in succession, unless Marriage Story does pull off an unlikely Best Film Oscar victory, that for the second year, the Oscar winner will not have debuted on the Lido. There is also a well-voiced and, quite frankly well-placed, concern about the dominance of English language films in the Venice competition. Again, the media and the trades desire to push films as Oscar contenders, that will result in them receiving advertising money from studios looking to win awards, is also part of the game. So it’s not in anyone’s interest to complain too much. It’s another example of how capitalism can limit choice, even in art.

Consequently, some great movies that could have done with the status push that can come with appearing in competition on the Lido get somewhat lost in the sidebar sections. I would like to see Venice be a bit bolder in its official selection. But if it’s glam you want, Barbera is your man. He is incredibly slick, has a big fun personality and could have been a character in La Dolce Vita. He is Italian Hollywood.

Even the choice of poster, which I love, reflects this debate. It’s a painted image of a couple being filmed kissing on the front of a boat. It’s a hint towards Titanic more than the refugee crisis, or the debate about how locals have turned against cruise ships, and the worry about climate change. The poster designed by Italian illustrator Lorenzo Mattotti (he’s also created the 2000 edition Cannes poster) emphasizes the water that makes Venice so unique, and the painted image connects the film festival to La Biennale, of which it is part. I liked the poster, and yes, I liked the festival. 

Toronto Film Festival 2020

Artistic Director and Co-Head: Cameron Bailey

I must admit it’s only now that I’m writing this that I’m looking properly at the one-sheet of the Toronto International Film Festival for the first time. The fall film festival season doesn’t allow for much navel-gazing. It’s the moment every year that I forget the sage advice from Ferris Bueller’s Day Off about life moving pretty fast and the need to take stock and look around once in a while. At Toronto, there is no such opportunity to stop. After the curated programmes of Venice and Telluride is the splurge of films in Canada.  The festival ends with the announcement of the winner of the Toronto audience award. Then we are all supposed to guess what will win the Oscars for the next few months. Of the Oscar frontrunners, only 1917 and The Irishman, which debuted shortly after at the New York Film Festival had not screened at this stag. It’s a shame that there is this enormous focus on what goes on in Hollywood in February because great stuff that happens in Toronto gets overlooked as a consequence.

One of which is the mentoring of film critics from underrepresented demographics. So at TIFF, I had the great honor of mentoring Valerie Complex at the festival. It was great to be able to meet up and hang with a young writer, who had exciting and differing viewpoints about films. She’s also making significant headway into the field of criticism, and has a prevalent Twitter account should you want to employ her. Together, we watched Anna Winocour’s space training epic Proxima, which we were still debating the next day. It was a film that grew on both of us, with Complex being the first to admit that the film was better than she initially thought. The joy of movies and not writing immediate tweets and reviews. As with many things in Toronto, it did feel like the critic mentoring scheme was another thing added, and need some refinement and more support from the festival, but it’s a great start for the initiative that I hope will grow. It came as no surprise to me that this initiative was taking place at a festival where Cameron Bailey is the head honcho. Despite all the talk around inclusion, white male critics still have so much more opportunity than women and people of color. And it’s no surprise that Bailey has overseen this initiative given his background. He’s a top programmer, and it won’t be long before his evolution at TIFF becomes a revolution. Of the big fall festivals, Toronto is the one making the most significant effort to bring about change not just to film, but also society.

But back to that poster, it’s a bit abstract and difficult to tell what it wants to be. Maybe I did see it during TIFF, everywhere, I just didn’t realise that it was the visual identity that was supposed to be representing the festival. Having said that, it kind of fits with some of my sentiments about a festival where a lot of films, seem to be put together abstractly, and where it doesn’t quite come together as a whole.

El Gouna Film Festival 

Festival Director: Ihtishal Al Timimi

I have a good rapport with Festival Director Ihtishal Al Timimi from his time at the Abu Dhabi Film Festival. Heading to Egypt meant that I had to miss San Sebastian, one of my favourite film festivals of the year, every year. I’m still crying, even if it was well worth the change of water and sun location. El Gouna is one of those friendly festivals, with a real hub where everyone mingles and chats about the movies that they have, or haven’t been watching. Its focus is on films from the Middle East and North Africa, and all of the key players from the region turn up, make plans and plot for the future. It comes a few weeks before Cairo and has a far more curated programme in which most films had a lot going for it. It was one of those festivals with not much to do in a resort late at night, so it was easy to mingle with filmmakers and festival programmers.

The poster is striking, albeit one more in keeping with it a perfume fragrance rather than a film festival. It shows a lady in a red dress walking across a stage from left to right, with the backdrop resembling a film reel. It wants to be modern but can’t help but feel retro. Much like this festival, the poser is a throwback to a bygone era, and that’s not always a bad thing. I’m hoping the festival moves dates to avoid a clash with San Sebastian in the future.

Zurich Film Festival 

Artistic Director: Karl Spoerri

Straight from El Gouna, I crashed into the Zurich Film Festival. This festival, with its green carpets, has been growing in stature every year. It’s the sister festival to San Sebastian and benefits from filmmakers coming straight from the Basque region to Switzerland. Zurich has improved a lot in recent years, but the selection has yet to catch fire. The big Swiss festival, Locarno, has a much more progressive and diverse programme. This year was a watershed for Zurich in many ways as it was the final year that co-founders Nadja Schildknecht (managing director) and Karl Spoerri (artistic director) were at the helm. They will be board members and advisors to the festival from here on in. Some months before the festival started, Zurich announced that leading film journalist Christian Jungen, the chief cultural editor at the German-language Swiss newspaper NZZ am Sonntag, had joined the Zurich Film Festival and would take over as Artistic Director in 2020. The appointment shows that good taste and a long career observing the film industry is still a way into festival curating (despite my earlier observation), especially for celebrations of cinema looking to be bolder in their selection.

One of the changes that can immediately be made, that would highlight a bit more risk-taking, is the creation of more captivating movie posters. I hope Jungen changes this up too. The Zurich Film Festival has a strong logo presence, but the desire to have a visual identity that appears on tickets, festival cars and stationery has led to the uninspiring and corporate logo dominating the festival poster. Where is the fun? The use of the logo on the poster is more bland corporate identity than art. Let’s face it, the formula for many film festivals is the same, you have films, industry talks and events with a bit of glamour on the carpet, it’s the other stuff that stokes the audience imagination that creates buzz. That starts with a good poster.

London Film Festival 

Festival Director Tricia Tuttle

The London Film Festival also went for the abstract approach to designing their visual identity. At first glance, it feels even more abstract than that in Toronto and less cohesive with it’s merging triangles and colours. The British Film Institute said when launching the poster: “Delivered in collaboration with creative agency DBLG, the design continues to develop iconography that was inspired by the beautiful NFT sign on our building at BFI Southbank, which was created in 1957 by Norman Engleback, and harks back to some of our classic Festival artwork from the 60s.” Hmm. If you say so! I’ve been to the BFI Southbank building countless times, and I’m at a loss about the beautiful NFT sign! 

London is my hometown film festival, so I guess that makes me harder on it, in the way that happens in families. It was the first year that Tricia Tuttle was officially in charge as festival head. The year before she was acting head, so 2019 wasn’t her first festival in the hot seat. Her promotion seemed to be an anointment rather than an appointment. I was surprised that there was not a more significant fanfare about the failure to open up the application process, but not too surprised. Tricia is very personable and is well-qualified for the role and probably would have got the job anyway. Also, it’s hard to imagine many clamoring for a position that involves programming a festival around talent that is coming to London for BAFTA screenings so that they can campaign for award season votes. London feels like a hostage to the awards season. 

That being said the clamoring for votes is terrific timing for the festival as it means it gets a host of talent to attend the festival because it’s the early stage of the awards campaigning when producers and studios are still unsure of what will emerge as the frontrunners. Consequently, it struggles to be a festival of discovery or even a festival of festivals, despite the introduction in recent years of competition segments. The surprising omission of Nadav Lapid’s Synonyms meant that this was the first time that I can remember that none of the Berlin, Cannes, or Venice Best Film winners played at the festival. (Someone will no doubt fact check this and prove me wrong!) 

As with any festival that has this many films and star names, the attention gets placed on the usual suspects. While film festivals are the life-blood of smaller independent films, it is harder than ever for them to emerge and break out into the mainstream. It’s a chicken and egg situation. London does try to make this push, but the sheer size and scale of the operation, and the need to get audiences through the door means it usually fails. How hard it is for films to get noticed is the struggle of our times, and it’s even harder persuading a distributor to release it after a festival appearance, which sounds odd given that more movies are coming out each week than ever before. London is just another festival that seems to favor the studios rather than the independents, as it’s easier to get bums on seats and ticket sales for blockbusters, even if the goal is to highlight smaller films and BFI funded films. However, I realize I know I’m more aware of the issues of the festival in regards to the distribution scene in the United Kingdom, as I’m much more often in contact with the local sales agents, distributors and exhibitors, which could be highlighting the problem. I’m sure the same story is being told elsewhere, but it is one that comes into sharp focus for me in London.

Lumière Film Festival 

Festival Director: Thierry Frémaux

When not presiding over Cannes, Thierry Frémaux is the director of the Institut Lumière, in Lyon. The museum and the festival are located within the grounds of the Lumière family house, around the site that the Lumière brothers shot one of their earliest works, Workers Leaving the Lumière Factory in Lyon. It’s often called the first motion picture ever made. The Institut Lumière was founded in 1982, and charged with promotion and preservation of film. Acclaimed French filmmaker Bertrand Tavernier is President and Frémaux is its director. It’s a job that Frémaux clearly loves. One of my best experiences in a cinema was watching Frémaux live-present Lumière! A film he directed in 2016, made up of clips and reels of early French cinema. The witty and engaging commentary that he delivers as the reels play is extraordinary and full of passion.

A decade ago, Frémaux decided to launch the Lumière Film Festival, which focuses on the history of cinema with a line-up dedicated to restored prints and retrospectives. There are some new films, presented when one of the many luminaries who come through the festival give a masterclass. Top talent comes, because of the connection to Cannes. The masterclasses are extensive, intriguing and unique, some of the best of the year. Go on their website and listen to the podcasts if you have not done so already, you will not be disappointed. It’s impossible not to have a fabulous time when spent watching the works of Lina Wertmüller, treasures from pre-code Hollywood, and re-mastered classics including 5 Fingers by Joseph L. Mankiewicz and Phillipe Garrel’s Liberty at Night.

The Festival poster is in keeping with the cinematic history theme. It’s a poster of Francis Ford Coppola directing on the set of Rumble Fish. It’s in black and white, of course, and chosen to celebrate the fact that Coppola was in town to pick up the festival’s big honour, Prix Lumière. Coppola had a great time. My particular highlight was seeing him introduce The Cotton Club. A couple of days later at The Godfather Trilogy all-nighter, I was struck by how The Cotton Club and The Godfather movies use entertainment as a mask for nefarious activities. It is a great film festival, and a joy to see cinema through the eyes of Frèmaux, in a way that is impossible at Cannes. Bravo!

Red Sea Industry Workshop

Red Sea Festival Director: Mahmoud Sabbagh

The decision to allow cinemas to open in Saudi Arabia after a 30-year ban has brought a vast new audience and film market hungry for cinema. Saudi Arabia, with a population of around 70 million, is full of cinephiles. The cinemas that have been opening have been booked out. There have also been several Saudi films that have started to appear at film festivals. Haifaa Al Mansour’s The Perfect Candidate vied for the Golden Lion at the Venice Film Festival. The observational comedy Barakah Meets Barakah by Mahmoud Sabbagh is one of the most popular films from the region on Netflix. It is Sabbagh, a pioneer as a director, who is leading the drive to set up the Red Sea Film Festival, and also the Red Sea Lodge, an incubator for regional filmmakers that’s been set-up in collaboration with the Torino Film Lab. Two of the projects will win a production grant of $500,000. Next year, the Red Sea Film Festival will have its inaugural edition in March.

I jumped at the chance of going to the Old Town in Jeddah for the weekend to meet the filmmakers from the 12 projects selected for incubation. The filmmakers seemed invigorated at workshops where leading industry experts were discussing and dissecting their scripts for just over a week. I watched enthralled as one workshop leader used toys to highlight character journeys and some structural problems. Egyptian filmmaker Marwan Hamed delivered a masterclass, where he discussed his career, including the adaptation of The Yacoubian Building. I was most impressed by the attendance, where the local community sat enthralled throughout and came armed with interesting and intelligent questions. It was a surprisingly more engaged audience than I had seen at other Middle East Film Festival over the years. Cairo usually being the best. 

There was no poster as such, although on the literature that was released, often the writing would come over a photographic image of the Unesco heritage site in Old Town Jeddah. It will be interesting to see what happens in March when the first edition launches. Will the festival be seen as Saudi filmmakers celebrating film for the first time in three decades or will it be clouded and judged by a geo-political narrative? Much will be in the eyes of the beholder.

Films From the South 

Festival Director: Lasse Skagen

I found myself in Norway again, this time in Oslo for Films From the South Film Festival, where I delivered a master class at the Sørfund Pitching Forum on “Festival and Press strategy” to Norwegian producers, international directors and producers. At Sørfund Pitching Forum six selected filmmakers from Latin America, Africa and Asia pitch their films that they hope will be backed by the Norwegian film fund in 2020. One of the great advantages of this fund is that you don’t have to invest the money in Norway, but you need to woo a local producer, who will then be your Norwegian co-production partner. The standard of filmmakers is extraordinary. Two of the filmmakers pitching at the event had won Lion of the Future awards, for best first film at the Venice Film Festival.

So I didn’t attend a film at the Films from the South Festival. This was a festival that for me was about helping filmmakers further their career. In Oslo, I was the one in control of the show, or more accurately the Powerpoint presentation. It’s great to talk to filmmakers directly in this way. The aim of the talk is to give them an idea of a strategy that might attract the media to their films, including which festivals they might get the best results at, and when or where they will need to employ publicists, find sales agents, or just do it on their own. It always amazes me that independent filmmakers have to be both architects and realtors, they plan, create and when they have finished their film, they then realise that it’s up to them to sell their films. Even if they have a great team behind them, or working with them, often festivals can be a confusing and demoralising place for a filmmaker. 

I looked through the Films from the South catalogue, and it was an impressive list of films that were screening, and Sørfund can be proud of the success the films they’ve funded have had, especially last year. The screenings highlight how there are so many great filmmakers around the world, and how much stimulating and fascinating work gets created each year. On the minus side, it’s demoralising to see so many amazing films get ignored. As for Lasse Skagen, who is also the Artistic Director at the Oslo Festival Agency, and has been at the Oslo Films from the South Foundation since 1997, our paths didn’t cross, but I admire his work. I was in contact with the SORFOND team. As for the poster for the festival, I have only just looked at it now, and have to say I like it. A rainbow of paint is segmented to show the sun high in the sky casting a shadow down to the sea, a clear distinction of the world between the North and the South. Although some may balk at my interpretation as it can also be looked at as a representation of privilege. 

Ajyal 2019 

Festival Director: Fatma Al Remaihi

If you have made it this far, I salute you. You must be as exhausted as I was by the start of December. For my last festival of the year, I was back in Doha at the Ajyal Film Festival. This time it didn’t seem like Fatma Al Remaihi and Hanaa Issa argued very much about the poster, as it was in the spirit of the posters from previous edition, featuring an explosion of colourful splintered geometric shapes creating a circle with no borders. The use of the white background, a change from the previously used black background, made it pop out even more.

It’s been a few years since I’d been to this festival, and I have to say I was very impressed with how much better it is now, then from it’s baby years. Ajyal’s excellent goal is to foster a love of cinema in children and young adults. There are 96 films screened from 39 countries, with the juries for these films made up of these young spectators, split up into various age groups. Each age group were given 4 to 6 movies to watch and judge. There were also workshops for the 400 jurors from 41 nationalities, including 40 international jurors. 

I delivered a quick talk on how to watch movies and criticize them. What was surprising was how little help they needed, and that they were open to the fact that film criticism can come in many forms these days, not just print, but also with memes, video streaming and just chatting to your friends over a milkshake. It was the perfect end to an exhausting year, and as I finally finish writing this up, I realise that I went to a hell of a lot of events last year, and it’s impressive how non-repetitive and unique each festival is.

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Persecution of Muslims in China and India Reveals Important Facts About Religion and Geopolitics

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India, China and Myanmar are three Asian countries currently engrossed in carrying out physical and cultural genocides on their Muslim populations. While the plight of Rohingya Muslims and Uighur Muslims is well known, the recent introduction of a new law expressly aimed at dispossessing Muslims of Indian citizenship has alerted many to the reality that India’s ruling BJP government sees itself as Hindu first and foremost.

Questions such as “Why aren’t the rich Arab countries saying anything?” have come up, with the implicit inference that Muslim-dominated countries are supposed to stick up for Muslims everywhere in the world. Others have pointed out that despite suffering oppression in some parts of the world, Muslims are also responsible for brutal acts of oppression against other minority groups elsewhere, which allegedly negates the sufferings of the prior group.

In this article, I will pick through these questions and viewpoints with a goal of isolating some useful truths about how religion, geopolitics and human nature constantly interplay and produce much of the world around us.

Oppression is a Matter of Perspective

Which religion is the most oppressed? I like to troll my Christian friends with the image below whenever the topic comes up about some religion or the other allegedly imposing its will at their expense.

The truth is however, that this image could apply to just about every religion on earth. As a general rule of thumb, the only limiting factor on whether or not a religion functions as an oppressive tyranny in a particular jurisdiction is the proportion of the population that practises it there. Similarly, the only thing stopping any religion from being an oppressed and downtrodden identity is whether it is a small enough minority for that to be possible.

While Muslims in India, Myanmar and China are going through untold degrees of horror because of their religious identities, Muslims in places like Bangladesh, Indonesia, Afghanistan, Malaysia and Northern Nigeria are simultaneously visiting very similar horrors on Bah’ai, Shia Muslims, Christians, Budhists and other minorities in those areas. It turns out that the mere fact of belonging to a religious identity does not in fact, confer unrestricted global victimhood.

This point is important because it disproves the notion held by every major religion that its adherents follow a single set of standards and do things in the manner of a global “brotherhood.” In reality, Islam according to a Rohingya Muslim hiding from the Burmese military, and the same religion according to an itinerant herder in Kogi State bear almost no similarity to each other save for the most basic tenets. Environmental factors in fact have a bigger influence on how religions are practised than their own holy books. 

The current antics of India’s ruling BJP and its Hindu fundamentalist support base provide an important case in point as to how this works. Looking at the evolution of Hinduism from a passive philosophy into an openly militant ideology gives an important insight into how religion is in fact, a thoroughly contrived and amorphous set of ideas that can be changed, adjusted, aligned and revised at a moment’s notice in justification of anything at all. 

Hinduism traditionally sees itself as a religion of thoughtful, considered spirituality as against the angry dogmas of its Abrahamic neighbours, but something interesting is happening. Some argue that it started in the days of Gandhi, and some ascribe it to current Prime Minister Nanendra Modi, but whoever started it is a side note. The key point to note is that based on political factors, i.e anticolonial senitment against the British and anti-Muslim sentiment fueled by India’s national rivalry with Pakistan, Hinduism has somehow been coopted into the narrative of a jingoistic, monotheistic, mono-ethnic state which is  historical nonsense.

India has always been a pointedly pluralistic society, and in fact the geographical area now known as “India” does not even cover the geographical area of the India of antiquity. That India was a place of Hindus, Budhists, Muslims, Zoroastrians and everything in between. Hinduism never saw a problem with pluralism because Hinduism itself is a very plural religion – it has at least 13 major deities. The conversion of the Hindu identity into a political identity movement is a recent and contrived phenomenon first exploited by Gandhi as a means of opposing British colonialism, and now by Modi to oppose the Pakistanis/Muslims – it is a historical falsity.

The creation of Hindu fundamentalist movements like the RSS (which PM Modi belongs to) is something done in response to environmental factors. Spectacles like the RSS march below are evidence of yet another religion undergoing constant and ongoing evolution into whatever suits its purposes.

Something similar happened when medieval Europe turned into colonial Europe and European Christianity transitioned into a peaceful and pacifist ideology after centuries of being a bloodthirsty doctrine. The environmental factors that created the Crusades, the Spanish Inquisition, book burnings and witch hunts went away with the introduction of an industrial society, and thus the religion too transitioned.

In plain English, what all this means is that nobody actually practises a religion in the pure sense they imagine they do. Everyone who subscribes to a religion merely practises a version of it that is subject to the culture and circumstances of their environment and era. This is directly connected to the next major insight raised by these events.

Geopolitics is all About Self-Interest…Everyone Gets it Except Africa

While anti-Muslim violence has continued apace for years in China, Mynammar and India, the question has often been asked: “Why are the wealthy Arab nations not saying anything?” There is a perception that since the Arabian peninsula is the birthplace of Islam and Arabs – particularly Saudis – are viewed as the global gatekeepers of the faith, they must be at the forefront of promoting the interests of Muslims worldwide.

To many, the fabulous wealth and international influence that Saudi Arabia, Kuwait, Qatar and the UAE enjoy, in addition to the presence of two of Islam’s holiest cities – Mecca and Meddinah – in Saudi Arabia, means that they have a responsibility to speak for the global Muslim Ummah and stand up for them when they are unfairly targeted and mistreated. Unfortunately for such people, the wealthy nations of the Arab Gulf region tend to respond to such questions with little more than an irritated silence – and with good reason.

To begin with, these countries are not democracies led by the wishes of their almost uniformly Muslim populations. They are autocracies led by royal families who came to power in the colonially-influenced 20th century scramble for power and influence. Saudi Arabia, which houses Islam’s holiest sites, is named after the House of Saud, its royal family which came into power in its current form at the turn of the 19th century. The priority of the regimes in these countries first and foremost is self-preservation.

Self-preservation means that before throwing their significant diplomatic and economic weight behind any attempt to help out fellow Muslims, the first consideration is how doing so will benefit them. India for example, is a country that has close diplomatic ties with the UAE, and supplies most of their cheap labour for construction and low-skilled functions. India has even coordinated with UAE special forces to repatriate the dissident Princess Latika when she made an audacious escape attempt in 2018.

What does the UAE stand to gain if it napalms its diplomatic relationship with India by criticising Modi’s blatantly anti-Muslim policy direction? It might win a few brownie points with Islamic hardliners and possibly buy some goodwill among poor Muslims in South Asia, but how much is that worth? The regime and nation’s self-interest is best served by looking the other way, so that is exactly what they will do.

The Saudis make a similar calculation. At a time when they are investing heavily in military hardware to keep up with their eternal rivals Turkey and Iran, and simultaneously preparing for the end of oil by liberalising their society and economy, does it pay them to jump into an issue in India that does not particularly affect them? As the status of their diplomatic relationship with the U.S. remains unclear following the Jamal Khasshoggi incident, are they going to risk pissing off the Chinese because of Uighur Muslims?

In fact self-interest like that mentioned here is the basis of the considerations that underpin all international relations. Well I say “all,” but what I really meant to say was “all except African countries.” It is only African countries that take diplomatic decisions based on little more than flimsy emotions and feelings of religious affinity. Gambia for example, has dragged Myanmar before the UN and filed a genocide case against it on behalf of the Rohingya Muslims.

This would be commendable and great were it not that Gambia itself is hardly a human rights luminary, and generally has little business fighting an Asian battle when its own worse African battles lie unfought. The only thing Gambia stands to gain from fighting a diplomatic war that the rest of the world seems unwilling to touch is the temporary goodwill of a few Muslims in Asia and around the world – goodwill that cannot translate into something tangible for it.

To coin an aphorism from social media lingo, you could call it ”diplomatic clout chasing.’

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Lagos reels out frightening statistics of death by Okadas, tricycles | P.M. News

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Gbenga Omotoso

Lagos State Government has disclosed that the state records over 1,500 accidents involving tricycles, with over 70 people dead.

Commissioner for Information and Strategy, Gbenga Omotoso, who disclosed this in a statement on Sunday also said the state now record over 200 motocycles (Okada) accidents monthly.

He said government has put machinery in motion halt the abuse of traffic laws by motorcycle and tricycle riders, saying the menace could no longer be condoned.

A statement signed by the Commissioner for Information and Strategy, Mr. Gbenga Omotoso, affirmed that the ongoing enforcement of traffic laws will be stepped up across the State to check motorcyclists and motorists violating the laws.

The Commissioner explained that the violation of traffic laws by commercial motorcyclists was unacceptable, thereby necessitating the enforcement of the State Traffic Law 2018 to pave the way for the implementation of the present administration’s transportation project.

He recalled that the alarming negative statistics resulting from motorcycle accidents and the compelling need to enhance safety led to the introduction of the Lagos State Road Traffic Law 2012, which was reviewed in 2018.

Omotoso emphasised that the law makes the use of safety helmets by riders and passengers of motorcycles compulsory, obedience of traffic lights and signage mandatory and the conveyance of more than a passenger, expectant women, adults with babies, as well as children of school age forbidden.

“Their operations were restricted on 475 roads, including highways and bridges” Omotoso stated.

The Commissioner said: “We cannot fold our arms and watch them disrupt the peace of the State. Over 1500 accidents involving tricycles were reported across the State from 2015 till 2019 while over 70 died and 250 were injured”.

He added that 30 robbery cases involving motorcycles were reported in 2019, out of which 20 were foiled by the Police, who arrested 25 suspects and recovered 48 arms and ammunition.

While reeling out statistics from the Lagos State Traffic Management Authority (LASTMA), Omotoso stated that no fewer than 619 people were killed or seriously injured in motorcycle accidents within 2015 and 2016, noting that a police report released during the same period indicated that of the 30 armed robbery cases recorded between July and September, commercial motorcycle riders perpetrated 22.

“Over 200 cases of motorcycle accidents have been recorded monthly at health facilities across the State in the last three years”, Omotoso declared.

Bemoaning the era of indecency exhibited by motorcycle and tricycle riders, the Commissioner stated that their consistent and brazen disregard for the law, in addition to drug abuse by many should be a matter of concern for Lagosians.

“Okada is being used to escape after robberies. Besides, the influx into the State of many riders without traceable addresses and valid means of identification, in spite of the provision for a rider’s permit, remains a huge security and safety threat to residents,” the Commissioner said.

He asserted that “Aside from the sheer size of the industry, the level of indiscipline, security concerns and, particularly, the level of fatalities being recorded daily, demand appropriate and very serious sanctions. The government, in line with its T.H.E.M.E.S Agenda, is addressing the challenge decisively.”

The Commissioner affirmed that the resolve to strengthen security has reinvigorated the government’s commitment to instilling sanity in the operation of ‘Okada’ and ‘Keke’ business.

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Man drags younger sister on Facebook for refusing to wash his clothes

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Facebook user, Fanta Boy Ekwem, on monday, narrated how his younger sister ‘insulted him’ and even ‘fought back’ after he demanded to know why she did not wash his clothes as he instructed.

According to him, his sister is not ‘fully married’ as the fiance has only done introduction and paid her bride price.

He stated that she still lives in their family house and will remain there until her fiance concludes the final traditional rights on Easter day.

Sharing a photo of himself wearing a shirt allegedly torn by his younger sister during their fight, Ekwem wrote;

“I don’t normally bring up my family issues online but I have to do this for you guys to judge it, because everybody who were here when it happened was on her side. She is married and so fucking what? Am just so sad this morning, this thing that happened today won’t end just like this I swear.

We have four girls in our family two out of the four girls senior me, and I senior two, one of the girls who I senior got married(the guy just did introduction and small something on her head) she is still in our family because the guy is yet to finish up the traditional rights according to the igbo culture.

So yesterday I was going out I bring out my Dirty clothes as you can see it on the pictures, I told her to wash the clothes for me so that today I will go back to base with them. She didn’t talk to me I left. I came back in the night and went to bed I didn’t ask of the clothes I told her to wash.

This morning I woke up around 6AM to park my things so I can start going back to Lagos, I called her to come and give me the clothes she washed for me, she didn’t even talk to me. I said okay let me go to the back yard to check if she sprayed it there. I met my cloths on the same spot I left it for her to wash yesterday”.

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Creators of Netflix gay Jesus film suffer petrol bomb attacks – Davina Diaries

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The Rio de Janeiro headquarters of Porta dos Fundos, the creators of Netflix controversial gay Jesus movie was hit by a Molotov cocktail attack in the early hours of December 24.

Molotov cocktails were thrown at the headquarters of a comedy troupe behind Netflix’s ‘gay Jesus’ film on Christmas eve.

The First Temptation of Christ roused anger among Christian viewers for insinuating that Jesus was gay – returning home for his 30th birthday alongside a new ‘friend’ named Orlando.

More than 2million people have signed a petition for Netflix to take the show down and have threatened to boycott if they fail to do so. In the early hours of Christmas Eve, two masked men launched the petrol bombs at Porta Dos Fundos’ headquarters in Brazil.

In a statement released, Porta dos Fundos states that no one was injured in the attack but it ‘endangered several innocent lives in the company and on the street.’ The building had security footage which has now been handed over to the police.

The petrol bombs were lobbed at the door but thankfully no one was hurt.

‘Porta dos Fundos condemns any act of violence. We expect those responsible for the attacks to be found and punished,’ the statement read.

‘However, our priority right now is the safety of the entire team that works with us. ‘We will speak again once we have more details.

Meanwhile, Porta dos Fundos would like to reinforce our commitment to good humour and declare that we will move on stronger, more united, inspired, and confident that Brazil will survive this storm of hatred, and love will prevail along with freedom of speech.’

In the controversial 40-minute short, Jesus is seen being surprised with his birthday party after walking the desert, becoming embarrassed by the introduction of new friend Orlando.

The show never explicitly states that Jesus is gay, however, it’s been largely inferred by his interaction between Orlando, and his bashfulness about the friendship to his parents and family.

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Christ Embassy Church probe in UK: The Full report | P.M. News

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Pastor Chris Oyakhilome: heads the Christ Embassy Church in UK

Christ Embassy Church, owned by Pastor Chris Oyakhilome and registered in the UK in 1996 as a charity came under probe of the Charity Commission in 2013, following complaints about the use of charitable funds on large connected party payments.

Truly, investigators discovered numerous failings in its management. They established that a number of informal grants and payments were made, including over £1.2 million* to a broadcasting company, Loveworld Television Ministry, which was wholly owned by a trustee of the charity.

Also, for six years the charity had allowed Loveworld free use of a £1.8 million property it had purchased, and was subsidising a proportion of the company’s utility bills. The inquiry found a lack of formal contracts or appropriate record keeping, and a lack of evidence of proper decision-making or of conflicts of interest being appropriately managed.

Financial management at the charity was also found to be poor. The trustees claimed 9 bank accounts held funds belonging to Christ Embassy Nigeria, and that 3 UK properties belonged to Christ Embassy Nigeria, however the inquiry concluded that all of these in fact belonged to the charity.

Oyakhilome’s ex-wife Anita Ebodaghe: was on the charity board at the time

The inquiry considered that there was serious misconduct and/or mismanagement in the administration of the charity, and took action to remove two of the trustees of the charity, however the individuals resigned before the sanction was applied. The Commission has since been granted new powers to address this loophole, which it secured under the Charities (Protection and Social Investment) Act 2016.

As a result of the inquiry, a new board of trustees was set up to strengthen the administration and management of the charity.

Amy Spiller head of the investigation team spoke on how the investigation was able to dissect the complex web of entities connected with the Christ Embassy Church:

“This was a complex inquiry that unveiled numerous failings by those running Christ Embassy over a number of years, which exposed the charity to undue risk. I am pleased that these issues have been resolved and that the new board of trustees has shown a clear commitment to move the charity forward responsibly.

“Those running a charity should always be guided by their charitable purpose. Trustees have an important responsibility to ensure that they act in the best interests of their charity at all times, and take care to safeguard their charity’s assets. Our guidance around governance arrangements is there to help trustees ensure they do just that.

“Charities are trusted in a way that is unique, and people often put a lot of faith in religious charities. It is therefore vital that trustees, particularly those with a large following, do all that they can to inspire public trust”.

Christ Embassy operates over 90 churches in the UK, providing religious services to over 5000 people, and has a substantial international following.

Here is the full report released 14 November, 2019 as culled from www.gov.uk

The Charity
Christ Embassy (the charity) was registered on 19 November 1996. It is governed by a Declaration of Trust dated 23 October 1996.

The charity’s entry can be found on the register of charities.

Charity Structure
The charity was established in South London in 1996. The charity’s Headquarters is located at the Loveworld Conference Centre (commonly referred to as the “Christ Embassy International Office”), in Folkestone, Kent and is supported by three sub offices situated in Bermondsey, Croydon and Hendon. The sub-offices operate in excess of ninety churches throughout the country, providing religious services to in excess of five thousand beneficiaries.

The charity has a trading subsidiary company called Christ Embassy Limited (Company Registration No. 05862298) which became a subsidiary in 2012. The trading subsidiary shares the charity’s UK headquarter premises. The trading business involves the production, sale and distribution of religious books and media products.

The charity’s reported income in the year ending 31 December 2013 was £14,055,229 and its expenditure was £15,923,977.

Trustees
During the Commission’s engagement with the charity (since 2012) there have been numerous trustees in office. The table below only lists the trustees who were in office for a part of the inquiry.

Trustee From To
A (Reverend Christian Oyakhilome) 23 October 1996 17 May 2014
B (Reverend Anita Oyakhilome) 6 April 1999 2 June 2015
C (Pastor Obioma Chiemeka) 6 October 2009 13 October 2015
D (Pastor Nkemakonam Odiakah) 6 October 2009 15 February 2016
E (Pastor Ifeoma Onubogu) 6 October 2009 12 February 2016
F (Pastor Uche Onubogu) 17 May 2014 26 January 2015
G (Pastor Tony Obi) 17 May 2014 16 October 2015
H (Reverend Raymond Okocha) 17 May 2014 8 August 2017

Trustee A resided in Nigeria and was the founder and international leader of the charity. His wife, trustee B, resided in the UK and was leader of the UK based charity.

Trustees B, D and F were also paid employees of the charity during periods of their trusteeships, which was permitted by their governing document in particular circumstances.

Following the appointment of an Interim Manager and full governance review, a new board of trustees (the new board of trustees) was appointed on 12 April 2016 who are now responsible for the administration and management of the charity going forward. Significant progress has been made to address the governance and improve oversight and control by the new board of trustees.

Issues under Investigation

On 29 July 2013, the Commission opened a statutory inquiry (the Inquiry) into the charity under section 46 of the Charities Act 2011 (the Act).

The Inquiry closed with the publication of this report.

The scope of the Inquiry was to examine a number of issues including:

*the transactions between the charity and “partner organisations” that include grants made to a number of unidentified entities and Loveworld Television Ministry, Healing School, International School of Ministry, Christ Embassy France, Christ Embassy Canada, IPCC Conference and Rhapsody of Realities

*the administration, governance and management of the charity by the trustees with specific regard to connected party transactions in respect of payments to Loveworld Limited and the management of conflicts of interest

*the financial controls and management of the charity

*whether or not the trustees had complied with and fulfilled their duties and responsibilities as trustees under charity law

Findings
Transactions between the Charity & “partner organisations”
The Inquiry team examined the accounts of the charity, for the period 2009-2011 which showed that the charity had paid substantial grants to organisations classified as “partner organisations”.

During 2009-2011, the charity’s accounts show grants amounting to £1,281,666 were paid to Loveworld Television Ministry; £118,995 to Healing School, £186,616 to International School of Ministry, £10,000 to Christ Embassy Canada, £10,566 to Christ Embassy France, £37,216 to IPPC Conference and £77,266 to Rhapsody of Realities.

The trustees provided the Commission with a copy of their grant making policy, and admitted to the Inquiry that “Prior to the involvement of the Charity Commission the grant making practice consisted of a discussion by the Trustees at a Trustee meeting regarding who should receive grant”.

Following his appointment on 6 August 2014, the Interim Manager (the IM) examined the charity’s records and found no evidence of compliance with the Grant Making Policy. Documents examined, by the IM, demonstrated a lack of records and receipts to account for grants made and there appeared to be little consideration given to whether the receiving parties had expended grants appropriately and for intended purposes, as was required by the policy.

This demonstrates failure to comply with its grant making policy and inadequate recording of decision making by the trustees which is misconduct and/or mismanagement in the administration of the charity.

Administration, governance and management of Charity by trustees-specific regard to connected party transactions in respect of payment to Loveworld Limited (also known as Loveworld Television Ministry – registered number 4691981) and management of conflict of interest
The inquiry had serious concerns regarding the trustees’ decision making relating to the charity’s relationship with Loveworld Limited.

It was established that Trustee C, was the sole shareholder of Loveworld Limited since its incorporation in March 2003. Trustee C had also been trustee of the charity between October 2009 and October 2015. The primary objective of the Loveworld Limited was to advance Christian programming in the UK and to provide entertaining and educational programmes for the diverse demographics of the UK, which it did by carrying out both radio and television broadcasting services.

The trustees informed the Inquiry, payments made by the charity to Loveworld Limited were not grants/donations as indicated in their accounts but represented payments for broadcasting services provided by the company to the charity. On 28 March 2013, the trustees were asked to provide all documentation held by the charity or its trustees that recorded the decisions made in respect of the payments by the charity to Loveworld Limited. On 19 September 2013, the trustees provided only two sets of minutes of trustee meetings (minutes of trustees meeting dated 6 January and 6 April 2012) that appeared relevant to the issue. However, neither set of minutes included any decision or resolution to make payments to a company of which one trustee was sole shareholder.

The trustees did not have any formal contracts in place, or indeed rationale for using Loveworld Limited as opposed to any other broadcaster. Additionally the IM, during his inspection of books and records found no evidence to suggest that any of the trustees considered whether the costs charged by Loveworld Limited were better value than the costs charged by any other service provider. The trustees have failed to take, or have failed to record, any proper decisions as to why such payments are in the best interests of the Charity.

The IM confirmed that as early as 2009, the Audit Report highlighted to trustees that transactions with organisations and companies controlled by trustees were required to be disclosed in the financial statements as related party transactions. Auditors also recommended that trustees seek professional advice on whether these payments were permitted under their governing document, discuss and decide whether the payments were in the best interests of the charity and minute those discussions, ensuring that any conflicted parties withdraw from the meeting during discussions. The IM’s investigation into these matters found that this advice had not been followed and in particular there was no evidence that the trustees had sought legal advice.

The IM’s scrutiny of charity records and documents demonstrated that the trustees had failed to comply with the terms of the charity’s governing document and that they failed to comply with the requirements of section 185 of the Act in paying for services by a company owned by a trustee.

Additionally, the Inquiry identified that the charity had purchased a property in March 2006, costing £1.8 million and allowed Loveworld Limited free use of the property from 2006 until September 2012. The trustees informed the Inquiry that Loveworld Limited had only occupied a “small part of the premises”, on an informal basis, with the charity using the premises themselves until February 2014. They informed the Inquiry that the arrangement had been formalised since 2012 and the company was charged £75,000 per year for use of the property. The Inquiry considers that this level of rent indicates that Loveworld Limited occupied a substantial proportion of the building.

The trustees failed to demonstrate that rent for occupation of the premises was a properly assessed market rent which would cover the charity’s overheads. The trustees stated, that the yearly rental income covered all mortgage costs incurred by the charity, however later stated that the charity’s annual mortgage payment was higher than this.

It was unclear to the Inquiry how the permitted, free use of the premises to Loveworld Limited between 2006 -2012 was in the best interests of the charity and was properly authorised.

This indicates that the trustees failed to act in the charity’s best interests or with reasonable care and skill in terms of their decision-making and in the negotiation of the arrangements with Loveworld Limited and in not seeking appropriate advice regarding formalising occupation of premises by the company. In addition, the fact that the charity was also subsidising a proportion of the company’s utility bills indicates a lack of reasonable care and skill and a failure to use the charity’s resources responsibly. These actions were not in the charity’s best interest or in furtherance of its objects and were misconduct and/or mismanagement in the administration of the charity.

Ventaja Limited
An audit conducted by the IM on appointment also identified purchases in excess of £30,000 by the charity from Ventaja Limited – trustees’ reports and financial statements for year ending 31 December 2013: the charity declared £44,925 of purchases made from Ventaja Limited for decorating and the construction of a stage. The company was wholly owned by Trustee G. The payments were made while, Trustee G was church pastor and zonal pastor (prior to being appointed trustee in May 2014). His wife was also director of the company, church pastor and a salaried employee of the charity. The IM found evidence indicating that Trustee G had employed the services of Ventaja Limited to provide services to the charity but it was unclear from the charity’s records what considerations were made regarding potential conflicts of interest. It is unclear to the Commission that the decision making trustees, in position at the time payments were made, were acting only in the interests of the charity.

The trustees failed to provide any records to evidence that conflicts of interest had been identified or correctly managed prior to the opening of the Inquiry. Although the trustees provided the inquiry with a copy of their new “Conflicts of Interest Policy” in their 2013 response, they did not have any policy which covered the conflict which arose as a result of Trustee G, being a church pastor and trustee, authorising payments from his church to his company and therefore effectively paying his own company. The trustees failed to demonstrate that they had recognised or properly managed conflicts of interest. Consequently the Inquiry found this was misconduct and mismanagement in the administration of the charity.

Financial control & management of the Charity
When interviewed by the Inquiry in October 2013, the trustees explained the structure and administration of the charity to the Commission. The structure involved Chapters (also known as churches) within the charity which were spread across the UK with the use of over 100 premises. The IM found that cash collection and payment recording processes were not uniform across the charity, with a number of basic key controls (for example timely bank reconciliations or maintenance of the SAGE records ) found to be lacking.

Bank Accounts/Assets
The inquiry identified nine active bank accounts that the trustees identified as holding funds belonging to Christ Embassy Nigeria (Christ Embassy Nigeria is a separate company to the charity). The inquiry found no evidence to suggest that any of the banking institutions were aware that they were holding funds controlled by Christ Embassy Nigeria. In addition, the accounts were not named in such a way as would indicate the funds are controlled from Nigeria: for example, two of the active accounts are named Christ Embassy East London.

The inquiry, not being satisfied that the funds held in these accounts were owned by Christ Embassy Nigeria, exercised legal powers and issued orders dated 8 august 2014, under section 76(3)(d) of the Act, freezing six of these nine bank accounts, protecting funds to a value of £615,420.

In the absence of clear evidence to support the trustees’ position, the Inquiry concluded that funds held in the accounts belonged to the charity and these accounts remained frozen until the order was revoked on 24 August 2016. The Inquiry being satisfied that the new board of trustees had assumed control of the charity’s property discharged the freezing order on 24 August 2016.

This demonstrates the trustees’ failure to deal with the bank accounts appropriately and their lack of understanding of financial management and the importance of clearly identifying the charity’s property and/or assets held on behalf of another entity and is mismanagement and/or misconduct in the administration and governance of the charity by the trustees.

Tax related issues
The IM informed the Inquiry that the trustees’ failed to submit the charity’s 2010-11 and 2012-13 Self-Assessment Tax returns on time to HMRC thereby incurring penalties for late submissions. In addition, the IM found that the trustees had failed to comply with information Notices issued by HMRC thus incurring further penalties.

The trustees’ non-compliance and failure to submit the charity’s Self-Assessment forms within statutory deadlines resulted in scrutiny by HMRC creating a risk to the charity’s assets in regard to financial penalties incurred and is further evidence of trustees failing in their duty to protect and manage resources responsibly.

Gift Aid is available on donations made by UK tax payers such that the charity can reclaim the tax already paid on the donation by the donor. This means the charity can receive an extra 25p for every £1 donated. It is the trustees’ responsibility to ensure that the charity has effective systems and internal controls in place to ensure complete and accurate returns are made, reducing the risk of amounts being reclaimed by HMRC and ensuring that the charity receives the Gift Aid promptly and with confidence.

The IM established that the charity had failed to maintain:

*sufficient records or processes to show that expenditure by employees had not been an employee benefit and therefore subject to tax
*sufficient records to show that charity vehicles were being used solely for charitable purposes and not used by trustees/employees for private use
*sufficient records to support the charity’s claim to Gift Aid and to demonstrate the expenditure was in fact charitable

The IM dealt with these inquiries and agreed a settlement with HMRC. During discussions with HMRC, the IM made payments on account of £250,000 in order to minimise interest/penalty charges.

The IM informed the Inquiry, in excess of £1.4m of expenditure was disallowed by HMRC and became subject to tax.

The IM reached final settlement over these matters prior to his discharge.

The trustees’ failure to maintain sufficient records and processes to account for expenditure resulted in scrutiny by HMRC creating a risk of criminal proceedings and loss to the charity’s assets in regard to tax liabilities and is further evidence of trustees failing in their duty to protect and manage resources responsibly.


Whether complied and fulfilled duties and responsibilities as trustees under charity law

The Inquiry found a number of breaches of their legal duties by the trustees as evidenced in the previous sections of this report. Additionally the Inquiry found evidence that the trustees exposed the charity, its assets and/or its beneficiaries to harm or undue risk for example:

Property Related matters
The charity is unincorporated, and as such does not have legal personality and cannot hold property in its own name. Instead property must be held on behalf of the charity by nominated individuals (known as holding trustees, and often in practice one or more of the charity’s trustees). From time to time these individuals will change for example due to retirement or death, and the legal ownership of the property will need to be transferred to the new trustees to ensure that the Land Registry records are accurate.

The charity’s main asset other than cash was its ownership of a number of properties. The Inquiry identified 3 UK properties that were not disclosed to the Commission in the trustees’ first responses or during the October 2013 meeting. The trustees asserted that despite the legal title of the properties being vested in the name of two of the charity’s trustees, the properties “were acquired on behalf of, and held in trust for, Christ Embassy Nigeria”.

The Inquiry noted that the Land Registry entries in respect of the 3 properties made no reference to the beneficial owner being Christ Embassy Nigeria and documentation supplied by the trustees provided no evidence to support their assertions. None of the Land Registry proprietorship registers differed in any material way from those of the properties originally disclosed to the Commission as belonging to the charity. These matters were explored further by the IM. His investigations confirmed that the properties were held legally and beneficially by the charity and that there was no trust in place suggesting they were held on behalf Christ Embassy Nigeria.

The Inquiry obtained evidence that the trustees’ failed to ensure land registry details for charity properties were amended once trustees resigned. This was raised a number of times by Auditors in their reports from 2009 onwards and as a result the trustees failed in their duties and responsibilities as trustees to act in the charity’s best interests.

Insurance
The Inquiry found that the trustees failed to secure adequate insurance to protect charity assets and protect against claims for accidental damage to property/or compensation for accidental injury to third parties. The IM was made aware of an outstanding claim in February 2015, brought by a member of the congregation who was injured at a charity premises in 2012. The IM sought to identify whether any relevant insurant was in place. The trustees confirmed that there was no relevant insurance cover and following legal advice obtained by the IM, he settled the claim, in order to avoid lengthy and costly litigation.

The failings of trustees to act appropriately left the charity open to financial and reputational risk and losses, as well as to risk of litigation.

Planning & Building
The trustees failed to ensure that a property purchased by the charity had the necessary planning permission for use as a place of worship – D1 use as Non-Residential institutions, which include a place of worship and church hall. The previous owner had applied for permission to use the property as a place of worship, in 2003 but the planning application had been refused by the local authority. The charity appealed the decision unsuccessfully. Enforcement action was commenced by Southwark Council (18 April 2011). This was also unsuccessfully appealed by the charity. The continued unauthorised use of the premises as a place of worship by the charity, exposed it to enforcement action by the Council. The IM team liaised with the Council to permit a planned exit from the premised which was vacated in January 2015.

The existence of the enforcement notice is a criminal matter. Any breach of the enforcement notice and continued unauthorised use of the premises as a place of worship exposed the charity to prosecution by Southwark Council. Legal advice obtained by the IM confirmed that the breach could have led to criminal sanctions being imposed against the charity and potentially exposed the charity to confiscation proceedings under the Proceeds of Crime Act.

This demonstrates the trustees’ lack of understanding regarding planning law and regulations which exposed the charity to substantial financial risk as well as legal costs.

Conclusions
The Inquiry concluded that there was serious misconduct and/or mismanagement in the charity’s administration. The former trustees, at the relevant times had not complied with or fulfilled their duties as trustees under charity law. They failed to:

*exercise reasonable care and skill in the execution of their roles and as a result exposed the charity to risk and financial loss
*ensure sufficient financial controls and procedures to protect the charity’s property file their annual accounting information, in accordance with their statutory obligations, on time
*ensure that conflicts of interest were effectively managed comply with the terms of the charity’s governing document in relation to remuneration of trustees
*obtain professional advice during their decision making process and to properly record their decision-making
*comply with planning law and regulations and adhere to enforcement notices, causing the charity substantial financial loss
*address the need for Health & Safety compliance and the lack of adequate property insurance exposed the charity to considerable losses which could have been avoided or minimized with proper management and prompt action

In light of the findings and evidence of misconduct and/or mismanagement, the Inquiry exercised its legal powers under section 79(2)(a) of the Act to remove two of the trustees of the charity.

However the trustees subject to regulatory action resigned prior to the Commission being able to complete the process. Section 79(5) and 82 of The Charities (Protection and Social Investment ) Act 2016 has closed this loophole, thereby allowing the Commission to proceed to remove a charity trustee who has resigned following the Commission having given notice to the charity trustees of its intention to make a removal order. The law has since been amended so that resignations following the Commission issuing a notice of intention to remove a trustee would not prohibit the trustee’s removal and consequent disqualification from action as a trustee in the future.

Regulatory Action Taken
During the course of the Inquiry the Commission exercised its legal powers (Sections 47, 52 and 54 Charities Act 2011), provided by the Act, to issue various orders and directions for the purposes of information gathering from local authorities, private individuals and companies, including financial institutions.

The Inquiry directed trustees to a meeting on 18 October 2013 to discuss regulatory concerns and seek further explanation from the trustees. The charity’s books and records were also inspected on 13/14 November 2013.

The Inquiry, being satisfied in accordance with section 76(1) of the Act, that there had been misconduct and / or mismanagement in the administration of the charity and that it was necessary or desirable to act for the protection of the property of the charity, used a number of regulatory powers, under the following sections of the Act:

*section 76(3)(d) orders (8 August 2014), directing the banks not to part with the charity’s property without the Commission’s prior written consent, protecting £615,420 of the charity’s funds

*section 76(3)(g) appointing an Interim Manager on 6 August 2014 (appointment to take effect from 11 August 2014) and then under 337(6) varying the order (25 January 2016) to authorise the
*Interim Manager to appoint a new board of trustees
section 337(6) discharging (18 November 2014) the order not to part by further order, once the

*Interim Manager assumed control of the charity’s property

The former trustees exercised their right to appeal (8 August 2014) to the First-tier Tribunal, General Regulatory Chamber (Charity) against the order appointing the Interim Manager. The appeal was withdrawn on 20 January 2015 with the charity’s legal representatives, notifying the Commission that the trustees were “now willing to accept that the statutory threshold under section 76 of the Act was met in the present case”.

Appointment of an interim manager
The Inquiry appointed an interim manager, Rod Weston of Mazars LLP, (the IM) on 6 August 2014 under section 76(3)(g) of the Act to take over the management and administration of the charity to the exclusion of trustees. The trustees were not excluded from performing the religious and/or spiritual functions connected with their roles as Pastors within the charity.

The scope of the IM’s appointment included:

*taking control of the management and administration of the charity to the exclusion of trustees and taking steps to secure and protect charity property

*reviewing the governance and administration of the charity and taking remedial action in the best interests of the charity

*reviewing the charity’s financial controls, systems and reporting procedures, safeguarding funds and ensuring proper expenditure controls and governance
consider whether any of the decision making trustees were personally liable for any breach of duty/loss of the charity, taking remedial action to regularise any breaches of duty in the best interest of the charity

The costs of the IM’s appointment, including legal advice and fees that would have been necessary and incurred by any trustee, amounted to £1,244,983.50 excluding VAT. The costs of the IM’s appointment were met out of the charity’s funds and are itemised as follows:

*fees directly related to work as IM – £390,358.40
*professional fees – £854,625.10 (relating to work conducted by 3rd parties on behalf of the IM)
*In addition £208,000 of work was undertaken by the IM on a pro bono basis.

As part of his appointment, the IM completed a full governance and infrastructure review of the charity and its activities. His initial findings, on 9 October 2014, corroborated the Commission’s regulatory concerns relating to the charity, reporting that “the board of trustees appears to be fragmented” and “appear to have little appreciation of their roles, duties and obligations as Trustees”. He identified a number of Health and Safety risks and concerns as well as legal issues relating to property matters which had failed to be dealt with by the trustees and which posed financial risks to the charity. The IM’s investigations found failings in the charity’s governance, leadership and management structures and personnel, including identifying that the charity had insufficient financial controls and procedures.

Remedial actions were taken to regularise the charity’s governance to ensure it was fit for purpose. This encompassed the following:

*establishing a central record of all properties leased and/or rented by the charity to ensure that the terms of leases were being met appropriately and suitable exit plans were in place where leases were due to expire
*establishing an accurate record of assets (ownership of a number of properties, motor vehicles and a range of fixed assets ) owned by the charity, gaining control of the charity’s property portfolio and cash reserves – the IM reduced the number of bank accounts in operation from approximately 40 to 8 and in September 2015 took control of just under £12,000,000

*introduction and implementation of financial controls, systems and reporting procedures, regularising the management of income and expenditure

*Health and Safety audits and fire risk assessments were carried out; training provided to staff and implementation of suitable Health & Safety policies and procedures
extensive liaison with HMRC resulting in settlement of the charity’s tax liabilities
recruitment of new board of trustees

*induction and training of new trustees

Restitution
On 18 November 2015, the IM considered professional advice and the particular circumstances of this case and decided that restitution (by way of civil claims against former trustees for breaches of duties and losses to the charity was not in the best interests of the charity.

Following the appointment of a new Board of Trustees on 12 April 2016, significant progress has been made to address the governance and improve oversight and control by the new trustees, as a result of which the IM was discharged on 12 April 2016.

Issues for the wider sector
Financial Controls & Accounting Records
Proper financial controls are a necessary feature of any well-run organisation. Because of the special characteristics of the charitable sector, they play an essential part in helping to show potential donors and beneficiaries that a charity’s property is safeguarded, and that its management is efficient.

Trustees are equally responsible for the overall management and administration of the charity. Every charity’s accounting records must be sufficient to show and explain its transactions and disclose with reasonable accuracy its financial position. Trustees should ensure that financial controls are not only adequate but provide sufficient information to satisfy the trustees that the controls are being observed. If, due to the nature of the charity, its work, location and /or set up the trustees delegate supervision of financial arrangements to one or a small number of trustees or employees, they need to ensure that there are arrangements in place for proper reporting back to the whole trustee body. In this way, system failures or issues can be identified at an early stage.

Therefore, in order to show that they are complying with their legal duties, trustees must keep records and an adequate audit trail to show that the Charity’s money has been properly spent on furthering the Charity’s purposes for the benefit of the public.

Conflicts of Interest Policy
Charity trustees should ensure that they have a conflicts of interest policy in place to ensure that they are fully aware of their responsibilities and that any conflicts that do arise are appropriately managed.

Where a charity trustee has a conflict of interest they should follow the basic checklist set out in the Commission publication Conflicts of interest: a guide for charity trustees (CC29) and where necessary or appropriate take professional advice.

The law states that trustees cannot receive any benefit from their charity in return for any service they provide to it or enter into any self-dealing transactions unless they have the legal authority to do so. This may come from the charity’s governing document or, if there is no such provision in the governing document, the Commission or the Courts. Further information is available from Trustee expenses and payments (CC11).

Charity Property
Charity trustees have a general duty to manage their charity’s resources responsibly, reasonably and honestly. This means not exposing their charity’s assets, beneficiaries or reputation to undue risk. It is about exercising sound judgement and then taking decisions that a reasonable body of trustees would do.

Trustees must put appropriate policies, procedures and safeguards in place and take all reasonable steps to ensure that these are followed.

If a charity owns land or buildings, trustees need to know on a continuing basis what condition it is in, that it is being properly used, and that adequate insurance is in place. The essential trustee: what you need to know, what you need to do (CC3) makes clear that decisions about charity land and property are important. If the charity owns or rents land or buildings, the trustees need to:

*make sure the property is recorded as belonging to the charity
know on what terms it is held
*ensure it is properly maintained and being correctly used
*make sure the charity has sufficient insurance

A charity’s governing document or the general law can provide a ‘power to insure’. If the governing document imposes a positive duty to insure, if trustees then fail to insure property, this will be a breach of trust. More details are available in the Commission’s guidance Charities and insurance (CC49).

Trustee Decision Making
Charity trustees are responsible for governing their charity and making decisions about how it should be run. Making decisions is one of the most important parts of the trustees’ role. Trustees can be confident about decision making if they understand their role and responsibilities, know how to make decisions effectively, are ready to be accountable to people with an interest in their charity, and follow the 7 principles that the courts have developed for reviewing decisions made by trustees. Trustees must:

*act within their powers
*act in good faith and only in the interests of the charity
*make sure they are sufficiently informed
*take account of all relevant factors
*ignore any irrelevant factors
*manage conflicts of interest
*make decisions that are within the range of decisions that a reasonable trustee body could make

It is important that charity trustees apply these 7 principles when making significant or strategic decisions, such as those affecting the charity’s beneficiaries, assets or future direction.

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Hate Speech Bill: UN, UK Oppose Inclusion Of Death Penalty

As the ongoing debate on the Hate Bill speech before the Nigeria Senate continues, the United Nations and the United Kingdom have added their voice in opposition against the inclusion of the death penalty in the proposed legislation.

The Prohibition of Hate Speech Bill, according to its sponsor, Senator Sabi Abdullahi, the Senate Deputy Chief Whip, proposes that any person who violates the law shall be liable to life imprisonment and where the act causes any loss of life, the person shall be punished with death by hanging.

But the UN and the UK insisted that the bill may act as a conduit to prevent Nigerians to exercise their right to free expression as guaranteed in the 1999 constitution (as amended).

Olusola Macaulay, spokesman of the United Nations Educational, Scientific and Cultural Organisation (UNESCO) in Nigeria, said the introduction of the bill is not the most exigent matter for the National Assembly currently. He stated that public enlightenment on the dangers of hate speech is what should be communicated to Nigerians.

“I’m not sure what the government needs now is a bill or an idea to shut down people or prevent people from being able to express themselves or express their freedom of thought or information. What I think the government should do more is to enlighten the people,” he said in an interview with the Punch on Thursday.

“Every human being has the right to life and you cannot cut off people’s lives just because someone has expressed his opinion. Nobody is saying hate speech is good.

“Hate speech and fake news have been there from time immemorial and it is barbaric to say now that we want to hang people because they expressed their feelings or what they had in mind. So, censoring people or limiting people from participating in politics might not be the correct thing. As I said, the best thing to do is to educate the people.”

Macaulay disclosed that a UNESCO advocacy group, Media and Information Literacy Coalition, would soon meet with the National Assembly over the proposed legislation.

He also hinted that the UN would lobby the Federal Government on the legislation.

“We are trying to pay an advocacy visit to the government and do some lobbying. There is a coalition working already, it was formed with the support of UNESCO.

“They are working to meet with the National Assembly to express their mind and possibly advise the government to have a different narrative to the issue of hate speech and fake news,” he said.

On its part, the British government said while it unequivocally condemns hate speech, the inclusion of the death penalty in the proposed bill would stifle Nigerians from freely expressing themselves.

In a statement signed by Chris Ogunmodede, Senior Press and Public Affairs Officer, British High Commission, Abuja, the UK government said it supports the right of individuals to express their opinions peacefully in a an open society.

The statement read: “The UK government is following discussions around the proposed Prohibition of Hate Speech bill closely.

“We take a strong stand against hate speech, which can incite violence and damage community relationships within society.  We also strongly support the right of individuals to express opinions and peacefully challenge authority as an essential part of a free and open society.

“The UK strongly opposes the inclusion of the death penalty in any piece of legislation, as a matter of principle.”

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CATTLE DECAPITATION – Death Atlas – HEAVY Magazine – Music, Interviews, Reviews, Podcasts, Shop, News and more…

Captivating, confronting, engaging, excruciating but most of all honestly extreme. Exactly as it should be! This is a brief introduction of feelings and emotions that gripped me intensely the first time, plus all ensuing times I’ve listened to Cattle Decapitation’s 2019 masterpiece and easily my album of the year so far, Death Atlas.

Absolutely never a band to shy away from confronting their audience, it has always been Cattle Decapitation’s intent to be unrelenting and unrepentant in their extreme metal mastery. They have never made apologies within their bleak yet truthful message over the course of their past two albums, Monolith Of Inhumanity [2012] and The Anthropocene Extinction [2015] of the plight of the world and our destructive patterns and habits as a pathetic human plague destined for extinction. 

Death Atlas opens with the prologue “Anthropogenic- End Transmission”. A monologue draped by a soundscape of desolation. A fog of despair lures us into the foreshadowing world of Death Atlas as seen through the lens of Cattle Decapitation…And then the magnificently catastrophic “The Geocide” drops like a nuclear bomb on the senses, clearly setting the bleak scene yet malevolent pace at which Cattle Decap wish to, as a means of sonic visualisation, deliver their uplifting message of human extinction. “The Geocide” is the perfect opener to slate the thirst of Cattle Decapitation fans and a deathly sigh of relief shall emanate from your parched throats as you are decimated with familiar territory.

“Be Still Our Bleeding Hearts” is a pummeling fuck machine of emotion! Clearly at the beginning of the track there is nothing but hatred , yet early on there is an ebb and flow of musical brilliance and dichotomy within the band that sees them battling one another to cohesively bind eachother forming a perfect incoherent tragedy. So the song is aptly titled “Be Still Our Bleeding Hearts”. A third of the way in, the chorus kicks in and here we hear vocalist Travis Ryan’s first stunning attempt at clean extreme vocal clarity with decipherable lyrics to paint a picture of what is presented before us. 

The addition of a second guitarist in Belisario Dimuzio, complimenting Josh Elmore, adds a new found songwriting element expanding the ability of more pronounced and accentuated razor slicing clarity and lead breaks rarely touched on on previous Cattle outings. The songs are harsher and thicker (courtesy of new bass player Olivier Pinard) in dimension and scope which, thanks to the incredible production capabilities of long time Cattle producer Dave Otero who has managed to produce one of the best death metal albums for this decade. 

“Vulturous” rumbles in like an imminent, destructive tsunami. Slow and full of groove it pulses with murky intent before the arrival of a wall of noise and armageddon  is erected to sand blast our ears with scathing hate. The groove that follows the previous moments is nothing short of incredible.  “Vulturous” is a song in chapters that engulfs the listeners in many emotions that is hard to honestly decipher at such an early point within the album. Following is the brief intermission of catastrophic memories of Death Atlas so far, “The Great Dying”, is a dialogue of themes we’ve already heard and are without question not done with yet. The female reader is un-subtly framed by thick choking sounds swirling around her as she warns of more unrelenting chaos to follow. Which bleeds into the first glimpse we got of Death Atlas nearly three months ago – “One Day Closer To The End Of The World”. Classic Cattle Decap! A galloping tirade of brilliant malevolence. Whilst there seems to be nothing but enormous tragedy as the main protagonist of Death Atlas, this album is Ryan’s first where he truly utilises his singing talent for the first time. And it seems as though he finds it as a means to promise albeit fruitless. You can truly get a firm grip on why Travis is without question one of the best, most gifted and diverse metal vocalists on the planet. His voice paints a myriad of pictures and emotions it is so easy to get lost in the images depicted and visualised thanks to his medium of choice. 

Out of “One Day Closer To The End Of The World” into our second unearthing of what you’ll hear on Death Atlas was “Bring Back The Plague”. Summoning the rage and clarity before us, this track embodies the album title’s true nature. No mincing words or apologies for lack of discretion. This track epitomises all that Cattle Decapitation are! Intelligent, thought provoking and unapologetic!

 An album full of idealistic hope – Negative optimism or nihilistic positivity, Death Atlas runs through a universe of unachievable hope via tales of our race’s unrepentant and destructive tendencies upon our planet and own lives regardless of our best laid plans to right the wrongs we have willingly adopted as a standard method of self-imposed annihilation. As Travis Ryan has stated recently on his thoughts of Death Atlas, we need look no further than the last twenty minutes of the album to hear their best yet bleakest work. I’ve given you enough detail as to how undeniably and simply perfect Death Atlas is. Your task is to now delve into its extreme brilliance and emerge on the other side forewarned and well equipped to make a difference.

Simply, if the five members of Cattle Decapitation were the last men living on this planet, it will be because they exemplify and harnessed the will through every extremity the world inflicts upon itself and they were chosen to write the soundtrack and script to the demise of the population they graciously loved but we’re forced to mourn due to complacency and self disregard!

Whilst Monolith of Inhumanity and The Anthropocene extinction were both incredible feats of extreme metal leading Cattle Decapitation up to this point, it is undoubtedly obvious underneath all their foreboding and tragic notions contained therein were precursors to what is heard within Death Atlas. Make no mistake that as we metal fans near the end of this decade and closer to our end, Death Atlas is a superbly crafted, perfect album delivered by Travis, Josh, David, Belisario and Olivier which will for many years to come be Cattle Decapitation’s shining light disguised as a tragic legacy.

Death Atlas, courtesy of Metal Blade is out on Black Friday – November 29th and can be pre-ordered here

DON’T MISS CATTLE DECAPITATION’S 2020 AUSTRALIAN TOUR

THURSDAY 13TH FEBRUARY – THE BRIGHTSIDE BRISBANE

FRIDAY 14TH FEBRUARY – THE FACTORY THEATRE, SYDNEY

SATURDAY 15TH FEBRUARY – CAMBRIDGE HOTEL, NEWCASTLE

SUNDAY 16TH FEBRUARY – THE BASEMENT CANBERRA

WEDNESDAY 19TH FEBRUARY – MAX WATT’S MELBOURNE

THURSDAY 20TH FEBRUARY -PELLY BAR, FRANKSTON

FRIDAY 21ST FEBRUARY – ENIGMA BAR, ADELAIDE

SATURDAY 22ND FEBRUARY – AMPLIFIER BAR, PERTH

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Dust over death penalty proposal for hate speech

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A groundswell of opposition is building up against the death penalty proposal for hate speech.
The bill, which is sponsored by Deputy Chief Whip Senator Aliyu Sabi Abdullahi (Niger North), passed the first reading in the Senate yesterday.
Titled: “National Commission for the Prohibition of Hate Speeches (Establishment, etc) Bill, 2019”, the bill also proposes the setting up of a Commission on hate speech.
Last week, the Senate introduced a bill to regulate the social media to punish what it termed “abuse of social media” with a three-year jail term or N150,000 option of fine or both.

The Social Media Regulation Bill titled: “Protection from Internet falsehood and manipulations bill, 2019” is sponsored by Senator Mohammed Sani Musa (Niger East).

Minister of Information and Culture Alhaji Lai Mohammed has said that the Federal Government is poised to regulate the social media.
The Peoples Democratic Party (PDP) caucus in the Senate has vowed to oppose any proposed legislation that would unduly infringe on the rights of Nigerians.
Minority Leader Enyinnaya Abaribe said this while reacting to concerns on the Social Media Bill raised by members of the Leadership and Accountability Initiative, who visited him at the National Assembly.
Abaribe said the PDP senators would oppose the bill if it threatened the fundamental rights of Nigerians guaranteed in Section 39 of the 1999 Constitution as amended.
Abaribe noted that there were already laws that dealt with issues the proposed law seeks to regulate.
He urged Nigerians to ensure mutual respect while freely expressing their views.
Abaribe said: “There is no speed with which this Bill is being passed. The first reading of a Bill is automatic. We can’t make a comment on what is still on the first stage.
“What I can assure you is that this Senate can’t be a party to removing the rights of Nigerians under any guise. Section 39 of the Constitution talks about our freedom as citizens. The 9th Senate will not abridge your rights.
“I don’t think Nigerians who fought and paid the supreme price to entrench this democracy will easily give it away and make us go back to the dark days.
“Rest assured that when we get to that point, we will stand for the people. Every Bill that passes here must pass through the rigours to ensure that it protects the rights of over 200 million Nigerians.
“We have a plethora of laws that can be used to drive the question of driving a free society. While social media can be good, it can also be bad. I am a victim of social media.
“As much as there is freedom, yours stops where another person’s own starts. We urge Nigerians not to propagate falsehood or fake news. Our job is to guarantee the freedoms and rights of both sides.”
Leader of the group, Nwaruruahu Shield, insisted that since there were already existing laws dealing with Defamation, it is superfluous to introduce a fresh anti-social media Bill.
Former Vice President Atiku Abubakar described the introduction of the Anti-Hate Speech Bill by the Senate as abuse of legislative process and called on the federal lawmakers to “stop the folly”.
In a statement by his media adviser, Mr Paul Ibe, the former Vice President said the bill sought to violate the constitutionally guaranteed right to freedom of speech of Nigerians.
“It is prudent to build upon the tolerance inherited from those years and not shrink the democratic space to satisfy personal and group interests.
“Freedom of Speech was not just bestowed to Nigerians by the Constitution of the Federal Republic of Nigeria, 1999 (as amended), it is also a divine right given to all men by their Creator.
“History is littered with the very negative unintended consequences that result when this God given right is obstructed by those who seek to intimidate the people rather than accommodate them.
“We should be reminded that history does not repeat itself. Rather, men repeat history. And often, to disastrous consequences”, Atiku said.
He added: “We are now the world headquarters for extreme poverty as well as the global epicentre of out-of-school children. Our economy is smaller than it was in 2015, while our population is one of the world’s fastest growing.
“We have retrogressed in the Corruption Perception Index of Transparency International, from the position we held four years ago, and our Human Development Indexes are abysmally low.
“It therefore begs the question: should we not rather make laws to tackle these pressing domestic challenges, instead of this Bill, which many citizens consider obnoxious?”.
Senator Abdullahi sponsored the same Hate Speech Bill during the Eight Senate but it attracted widespread condemnation from Nigerians. It never returned for second reading before the eighth Senate elapsed
The Bill proposes that the establishment of a Commission to enforce hate speech laws across the country, and ensure the “elimination” of hate speech.
For offences such as harassment on grounds of ethnicity or race, the Bill had proposed that the offender shall be sentenced to “not less than a five-year jail term or a fine of not less than N10 million or both.”
The Billproposes that, “A person who uses, publishes, presents, produces, plays, provides, distributes and/or directs the performance of any material, written and/or visual, which is threatening, abusive or insulting or involves the use of threatening, abusive or insulting words or behaviour” committed an offence.
It added that the charge would be justified if such a person intends to stir up “ethnic hatred”.
The Bill makes provision that any offender found guilty under the Act when passed would die by hanging.
“Any person who commits an offence under this section shall be liable to life imprisonment and where the act causes any loss of life, the person shall be punished with death by hanging,” the Bill said.
The Bill provides that “A person who uses, publishes, presents, produces, plays, provided, distributes and/or directs the performance of any material, written and or visual which is threatening, abusive or insulting or involves the use of threatening, abusive or insulting words or behavior commits an offence if such person intends thereby to stir up ethnic hatred, or having regard to all the circumstances, ethnic hatred is likely to be stirred up against any person or person from such an ethnic group in Nigeria.
“Any person who commits an offence under this section shall be liable to life imprisonment and where the act causes any loss of life, the person shall be punished with death by hanging.
“In this section, ethnic hatred means hatred against a group if person’s from any ethical group indigenous today Nigeria.
On discrimination against persons, the Bill also provides that: “For the purpose of this act, a person who discriminates against another person if on ethnic grounds the person without any lawful justification treats another Nigerian citizen less favourably than he treats or would treat other person from his ethnic or another ethnic group and/or that on grounds of ethnicity a person put another person at a particular disadvantage when compared with other persons from other nationality of Nigeria.
“A person also discriminates against another person if, in any circumstances relevant for the purposes referred to in subsection (1) (b), he applies to that person of any provision, criterion or practice which he applies or would apply equally to persons not of the same race, ethnic or national origins as that other.”
On harassment on the basis of ethnicity, the Bill further provides that “A person (who) subjects another to harassment on the basis of ethnicity for the purposes of this section where on ethnic grounds, he justifiably engages in a conduct which has the purpose or effect of: a) Violating that other person’s dignity or b) Creating an intimidating, hostile, degrading, humiliating, or offensive environment for the person subjected to the harassment.
“Conduct shall be regarded as having the effect specified in subsection (1) (a) or (b) of this section if, having regard to all circumstances, including in particular the perception of that other person, it should resonably be considered as saying that effect.
“A person who subjects another to harassment on the basis of ethnicity commits an offence and shall be liable on conviction to an imprisonment for a term not less than ten years, or to a fine of not less than ten million naira, or to both.”
The objectives and functions of the proposed commission on Hate Speech, according to the Bill includes to facilitate and promote a harmonious peaceful co-existence within the people of all ethnic groups indigenous to Nigeria and more importantly to achieve this objective by ensuring the elimination of all forms of hate speeches in Nigeria, and to advise the Government of the Federal Republic of Nigeria on all aspects thereof.

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People Are Mad at Kendall Jenner for a Video She Posted on Instagram

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Kendall Jenner is no stranger to controversy. In fact, some argue that that’s pretty much what she relies on for her career. From poorly planned Pepsi ads to more than her fair share of cultural appropriation claims, to that infamous video with Bella Hadid, Kendall is basically never out of the headlines.

But her latest controversy may be her worst yet. Kendall shared a video of herself on Snapchat that got everyone talking, for all the wrong reasons. Not only was it kind of silly – but it was actually dangerous, too. Scroll on for the video that’s got the whole internet angry.

Kendall Jenner has one of the most recognizable faces in the modeling industry.

The supermodel has crafted quite an impressive modeling resume – it feels as though there isn’t a major cover that she hasn’t featured on or a high fashion show that she hasn’t walked in.

But she’s also part of one of the most famous families in the world.

via: Getty

You know who we’re talking about… the Kardashians.

Kendall has had an early introduction to fame and fortune, featuring on their reality show, Keeping Up With The Kardashians, since she was barely even a teen.

But, now, the star mainly focuses on her booming modeling ventures.

From Vogue’s September issue to high fashion runways, there isn’t much that she hasn’t done.

But the star has managed to whip up quite a lot of controversy over the years.

Considering she stays relatively low-key when it comes to Keeping Up With The Kardashians, it looks like her lucrative modeling adventures have been far from plain sailing.

For example, does anyone remember that Pepsi commerical?

In 2017, the world watched, appalled, as Kendall Jenner brought a social justice protest to an end with one simple act – handing the police officer a can of Pepsi.

As problematic goes, this was definitely up there.

The ill-judged ad faced worldwide criticism, and rightly so.

The controversial commercial, which was promptly pulled following the backlash, insinuated that all the problems could be brought to a harmonious end with a can of the sugary soda – or, at least, that’s the logic that we were presented with.

But in a world wherein these are real issues affecting real people, the ad just appeared to distastefully trivialize the demonstrations fighting for good causes such as Black Lives Matter.

Of course, many viewers didn’t take kindly to the commercial.

via: Twitter

The internet was in uproar after viewing the commercial, with many people shocked at the mere suggestion that we can put our differences aside over a can of Pepsi.

And, for her participation, Jenner paid the price.

Both Kendall and Pepsi apologized for the ad, but it looked like, as far as countless people online were concerned, the damage had already been done.

Soon after, Kendall addressed the issue further on Keeping Up With The Kardashians, where viewers watched her get emotional over the backlash, telling older sister Kim: “It feels like my life is over.”

But, sadly, this wasn’t her only brush with controversy.

The supermodel has hit the headlines multiple times because of her hair.

Now, you may be thinking “hair is just hair, how can it possibly be problematic?”

Well, it can be when you consider cultural appropriation – aka the adoption of elements of one culture by members of another culture, which can often spark controversy when a socially dominant culture takes from a disadvantaged minority culture.

In 2016, the twenty-three-year-old found herself at the center of a cultural appropriation scandal.

via: Getty

She came under fire for being styled in dreadlocks at a Marc Jacobs runway show.

The questionable show saw a whole host of mostly white models, including bestie, Gigi Hadid, and, of course, Kendall Jenner herself, donning pastel-colored, wool dreadlocks.

People accused the show of cultural appropriation for not crediting African American culture for inspiring the look.

via: Getty

People took to Twitter to slam both the designer and the models for the distasteful appropriation of black culture.

The designer did apologize but justified his poorly-judged choice by saying that the look was inspired by Harajuku girls, rave culture, and London style in the 1980s. Though many people don’t buy it.

It’s safe to say Kendall is no stranger to backlash.

But there’s one area in which she’s particularly prone to causing a stir – when she’s behind the wheel of a car.

Kendall has faced trouble for this before.

In 2015, Kylie and Kendall were driving in Los Angeles when they posted a rather raucous Snapchat.

But many thought they were focused too much on their social media, and not enough on the road ahead.

And the same year saw another traffic accident.

Caitlyn Jenner was driving in Malibu when she hit two cars with her SUV, pushing one into oncoming traffic. There was one fatality and four injuries in the tragic accident.

In fact, it seems as though the Kardashian-Jenners and driving aren’t compatible.

And when you put a selfie camera into the mix, things go from bad to worse.

And Kendall’s latest move may be her worst driving mishap yet.

She shared a video of herself testing out the new Snapchat butterfly filter.

So far, so good – except for the fact she was also trying to operate a vehicle at the same time.

via: Instagram

In her eagerness to check herself out with her new (fake) look, Kendall was rather conspicuously looking away from the road.

See what you think – here’s the video.

It seems hard to deny she’s not putting her full attention into her driving, spending a few too many seconds for comfort staring into her own eyes.

And some noticed this.

Not only was Kendall not really paying attention – but she also seemed to be steering in a rather bizarre (and extreme) style.

And although some were joking about it …

It seems others were seriously annoyed. It’s one thing to be a danger to yourself – but putting others at risk through your own vanity? Not cool, Kendall.

Want some more Jenner-based controversy? Read on to see why Caitlyn Jenner’s birthday cake got everybody talking.

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