 I'm Joshua Cooper and welcome to Cooper Union, what's happening with human rights around our world on Think Tech Live, broadcasting from our downtown studio in Honolulu, Hawaii in Moana, New York, KF. Today we're looking at freedom of opinion and expression for all, the Universal Declaration of Human Rights Article 19, Artists for Rights in Action, the power of the pen around the planet. The Universal Declaration of Human Rights provides the power of ideas to initiate change in the world and UDHR outlines opportunities for a new direction rooted in inherent dignity and inanable rights for dynamic sustainable development and social democracy. Today we're very fortunate to be focusing on Article 19, one of the most important rights in the world, focusing on the right to freedom of opinion and expression with two amazing cartoonists and artists. First starting with you, Oisin, can you share with me what was the inspiration for you to begin to share your art and to become an artist and a cartoonist to express your important aspects of opinion and expression? Wow, that was quite a long question. I have drawn my whole life. So, you know, to me to become a cartoonist was quite obvious. I just had to do it. My first years, I did the commercial drawing. So just to make a livelihood. But after a while, I started to think about the deeper consequence about what I was doing. And I thought, I don't want to end my life being a guy that is just selling more stuff or helping to sell more merchandise. I want to do something that I believe in, something of value, something that people around the world can benefit from. So, I switched to teaching. And right away, I set a pretty big goal. I wanted to teach the entire world how to draw. And the reason for it is that I realized, because this was in about the 90s, and I realized that computers were taking over gradually where the pen and the pencil used to be. Everybody was excited about softwares and what they could do. And I said, but hey, guys, you got hands, you got pencils, don't forget the basic art skills for the communication skills with the line. So, I wanted to teach that basic skill. And I chose television because at that time, internet was not that developed as it is now. And I went on TV. I had a company in Singapore at that time, and I turned it into a TV production company, started to teach kids how to draw through television. So, that was my big mission. That's how I discovered kind of my passion for teaching. And when I saw that it worked, when I had kids in the street recognizing me and saying how much I have taught them, showing me cartoons that they learned from me, that really made it for me. I was hooked. I wanted to do this for the rest of my life. So, that's how I got started and why I felt this was so important. Thank you so much. Pedro, can you share what inspired you to care about this issue and some of the first campaigns you're involved in? Yeah, I mean, talking about how I became a creator and a cartoonist, I grew up back in the 80s in Nicaragua. And for me, everything is very circumstantial. I was growing in Nicaragua back in the 80s. I was a kid and there was a civil war going on at the time in Nicaragua. And we didn't have access to a lot of things. I mean, there was no internet, of course, at that time. We didn't have a lot of TV stations. There was only one TV station in Nicaragua at that time. And they will only work from 2 p.m. to midnight. And from that period of time, there will be only a couple of hours of cartoons for kids. So, there wasn't a lot to entertain a kid at that point. And so, I got into reading. And the way that I got into reading was by reading comics. The thing is that because of the economic embargo, I wasn't exposed like other kids around the world to like superhero comics, right? Yeah, they couldn't get into the country. I mean, Superman, Batman, Spider-Man, all that kind of stuff. The kind of comics that you will find in that, back in the 80s in Nicaragua, was humor comics that came from Spain, from Cuba, from South America, right? The stuff like Mafalda, Bikino from Argentina and that kind of stuff. So, that's the kind of stuff that I started reading. Again, since I was very little, I kind of, you know, I was always wondering why things were the way they were in my country. Why my older brothers had to go to war? You know, why we lack so many things in my country? And those questions, you know, because that's another thing. When you see the South American comics, humor comic strip and that kind of stuff, and you see a lot of Latin American comics in general, there is always kind of a social political thing going on. There was always social and political content on those comics, which you will not find, you know, in the typical comic strip that you see in the US, for example. You know, we are more politicized in that way. So, it was very easy for me to do the connection because I already like it to draw, you know, and to start using, you know, first I started copying these comics that I used to read and then to create my own cartoons and try to put my question to those cartoons. So, it was very early on in my life that I discovered that this is the kind of work that I wanted to do because it kind of makes it both things that I was really interested in, which it was art and questioning the system, questioning the way we live and why we were living the way we live. So, yeah. Now, really important, I think that's the whole point of art being a catalyst for social change. An article 19 focuses on everyone having the right to freedom of opinion expression. And this right includes the freedom to hold opinions without interference and to seek, receive, and impart information and ideas through any medium regardless of frontiers. And therefore we can see how artists are those important instruments to make an impact to our international institutions and also to the minds of humanity. Could you share also in a bit, how do you actualize article 19 and what actions are you involved with these days to promote and protect human rights? Quite a few different things. It has grown over the years, but when I first started teaching drawing I thought, you know, why do I do it? Why is it important? And I realized that drawing is an essential skill for humanity. We are visual people. We think through pictures. We feel through pictures and we express our biggest ideas through pictures. So, if you don't have that ability or the skill you are using your full potential. So that was the basics of this. And later I realized that, let's say freedom of speech and creativity is very, very closely linked because it's got to do with freedom of thought and the absence of fear. So if you want to be creative you need to have the freedom to think, to create, to speak. So those two are kind of like two sides of the same coin. And if you look at the countries, the societies with the biggest freedom of speech they are also the form of societies in the world. So the creativity and this freedom to think and speak is the same thing. Well, that's how I feel about it. Thank you so much. And Pedro, if you can share a bit of some of the current ways that you're involved in how you actualize the article. I know you were just recently recognized for your artwork. Can you share how you've been able to make an impact through your art to change institutions? Sure, let's start by saying that first of all, this is a personal thing. This is about my personal right to speak up of expression. Since I started working professionally in this field I wanted to focus on the fact that it was going to be my view of what is surrounding me. I mean, I was very clear from the very beginning with my editors, for example, when I started working in newspapers that they were not going to tell me what to draw. I wanted to say, I wanted to give my opinion about the things that I was seeing. I wanted to ask about things that I didn't understand. And I wanted to call out those people that were not behaving or were not doing what they were supposed to be doing to improve people's lives. I mean, I'm talking about political leadership. So for me, first of all, it's a matter of exercising my own personal right to expression. Then I realized because of the context of my country that I was becoming kind of a voice of a lot of people who couldn't say what I was able to say in withdrawals in my cartoons. Why? Because we're living under a dictatorship in Nicaragua. Actually, that was the reason I was forced to leave the country because independent journalism was kind of banned inside my country. We are the only country in all the American continent that doesn't have a single newspaper, for example. So then you realize that somehow you become the voice of these thousands of Nicaraguans that they wish they could say what they feel or think about this regime. And they enter it because they could be kidnapped, put in prison, kicked out of the country or even wars. They could be killed by raising their voice. So I realized that I had a huge responsibility being maybe one of the few Nicaraguans that because of my, if you want to say it that way, my skills as a cartoonist and the place that I was in as a voice on independent journalists was kind of important. And it has been very, very, you know, interesting to watch how a lot of people reflect on my cartoons. And I think of the comments that I used to get almost every day is that, you know, that's exactly what I was thinking. I mean, reacting to one of my cartoons. And then the people say, how come you can say, you know, how come you can find a way to say the things that we are all thinking because we are not, you know, and there is no secret. I mean, the reason behind that is that just like anybody else, you know, and I get angry at the same things and I question the same things and I feel the same things because I'm just another Nicaraguan citizen. So that's how I see it. But the thing that, you know, for me, Article 19 is that, you know, is the essence of what I do, but also is something that everybody should have because in the context like the Nicaraguan context where there is a dictatorship, these rights, they have become a privilege that only few can exercise and not without paying a high price. In my case, it's exile, for example. And my goal is that at some point in our lives that right that is now considered a privilege of a few can really become a right for the entire Nicaraguan people. Yeah. Now that's so profound because the truth is all of our rights aren't fully realized unless we're all able to exercise them. And that's one of the powers of the Oslo Freedom Forum. It brings together people from around the planet, dissidents coming together, uniting in solidarity for those important rights, because we know that if someone somewhere is not able to exercise their rights, that it impacts all of our rights. Maybe, Bois and you can share with you, why do you come every year to Oslo Freedom Forum? What are some of the positive aspects? What panels were inspiring to you? I know there was a couple with artists featuring political art, but also song. There was a lot of different panels. The Havel Award, what are some of the highlights for you and why you come to the Oslo Freedom Forum to be able to exchange and participate? Well, a lot of highlights. I think what I like the very, very best is to meet all the people. It's like how I met you two guys. That's what makes it for me and all the hundreds of other brilliant people I've met, a lot of who I keep in touch with and exchanged things with. I learn a lot. There's a lot of discussions. It's really mind-blowing. And of course, to hear the stories because you realize what shape the world is in and you get to hear a lot of stuff that you all hear on regular news. And you get a deeper insight in really people's lives and what it is like to live in, for instance, a dictatorship. So, yeah, it's that learning experience. Then I draw, I've drawn about almost 500 cartoons from the forum over the years and drawing these personalities and thinking about the stories of the people I'm drawing is very powerful. It's a great sort of spiritual experience for me. And I believe that there is no choice. I mean, you have to get involved with these things because the baddies in the world will gladly take over everything unless there are people that fight them and you just have to join the good force. So I feel that this is something I just must do. There is no other way. There's no choice. Thank you so much. And that's a really important point. When you look at it, it sort of follows the Amnesty International logo of fighting bad guys since 1960s. Yeah. That point up. Pedro, can you share? What was it also like to be honored with your artwork to receive that Buckle of Hobbell Prize and be able to then share with everyone your message? Because in a way, the also freedom forum also makes people sort of right stars and puts them on a stage to be able to share their story. Can you share with us a bit more about your story and why it was so powerful and what was it like to be able to be honored with your artwork, along with the other amazing activists and artists? Sure, it was a huge and pleasant surprise. I wasn't expecting this, of course. I've just been doing my job the last 25 years, doing what I think it's the best that I can offer the people, which is my art, which are my thoughts, and try to build bridges of communication between Nicaraguans and also people from all over the world about our reality and how can we change this reality that is many, many times better difficult for many, many people around the world. I'm talking about people who are living on their authoritarian regimes, which is the case in Nicaragua. And having the chance to go to the also forum, I mean, the HIPAA prize is an amazing honor and it's wonderful. And but, you know, if you ask me about the highlights of that event, again, it's the same thing. It's getting to know more people and getting to know how a lot of people, you know, are trying to resist in their own way under very, very, very hard circumstances and learn about their stories and feel that somehow, because this is something that sometimes happened, is that when you come from a very little country like mine and you are, you know, screaming your lungs out with the hope that somebody's out there listening to what is happening with your people and you're trying to reach people and you're trying other people to care, you kind of feel alone. It's like, you know, is somebody paying attention out there, you know, and then coming into an event like this and then getting to meet all these wonderful people, these, you know, sharing their stories and then you realize you are not alone, you know. And then there is a lot of people out there who knows how to feel because they are feeling the same. And then you can recharge your batteries and get more ideas to keep doing what you are doing in a most effective way. I really enjoy creativity and I can't even tell you how many great ideas I got by just going this one to Oslo. This was my first time. I've never been there before. And just with one time, you know, getting exposed, all the installations that they have, for example, that different programs that they have, you know, one that especially caught my attention, it was this fantastic idea that they had on how to show slavery in China, you know, the people who are put in prison to build all these merchandise that we later buy for five bucks from Namasong or one or whatever, you know. And what is the real price behind that, you know, market? And the way that they put it in that installation, you know, with the receipt design, with the faces of the prisoners and the cost of rights, that everything that is bad that it has to happen for you to be able to buy a shirt for five bucks. I mean, that's a really, really powerful message in a very creative one. And that is something, it's like, you know, this is the way of doing things. This is how you raise awareness about these kind of things. And I'm just mentioning one, many other things that I saw over there. It was a totally wonderful experience for me, very educative. And I am very, very thankful for the price and for having the chance to share with all these amazing people. It's true, it's definitely an idea hub where you can find inspiration with a conversation around the coffee or listening to the speaker up on the stage or seeing anything happen. It just really does, it motivates you. It then is a moment in time that we decide what we can do and how we can do it together. And that's what's so powerful as well about the UDHR. The UDHR calls for a coalition of conscience centered around trust and transformation while honoring values, voice and vision. And on this 75th anniversary, it's important to reflect on the role of human rights in our daily lives and world affairs. And as we look at that, and as you described, Pedro, it definitely reminds me of another one where they put all the information on the jump drives and then put them in the mouths of the dictators. I mean, everywhere you go, those exhibits are pretty powerful when they have the one on how many people are living under fully authoritarian regimes, partially democratic and those aspects, people look and see where they find themselves. And as you pointed out, the more you talk with others, the more you realize you're not alone, but also how much you have in comment and how you can have more connections and coordinate together to be able to mobilize to make a difference. As we look at that, maybe we can look and maybe, Oisin, you can share as you put down that photo real quick and we can see your face. What NGOs do you think create a culture of human rights around this artistic right? Who are some other major heroes or sheroes of Article 19 that inspire you that are also cartoonists and artists? Oh, yeah, there's so many. There's so many. I don't know if I can mention a specific name right now, but one thing that comes out of the forum, for instance, is that you discover how many people that are concerned with the same things as you and I, you can connect with them and collaborate and make something much, much bigger than you could do yourself. So I keep on expanding my network and got all kinds of ideas on what we could do together in the future. But I'm not ready to come up with that right now because this is not fully formed yet, but it's certainly growing. Thank you so much, Pedro. Are there any people that inspire you that you know from Nicaragua time or others in South Latin America really built the way? Yeah, there are so many, so many people that are doing great things. Talking about another experience that it was unbelievably good for me now that I was in the Oslo Forum. It was this another thing that they built in a virtual reality. They revealed the Alicoide jail from Venezuela. That was a very impactful experience when you get to see what a political prisoner has to live with or has to endure because of the way they are thinking and now talking about artists. I just wanted to mention that they're thinking about the artists from Nicaragua that really inspire me. And there are so many of them, people who are doing film, people who are doing music, writers. I mean, everywhere, if you are talking about artists, it's very important right now in the resistance in Nicaragua and you could find Nicaraguans doing very interesting stuff in almost any art medium. And that's wonderful for me, yeah. I remember the virtual aspect. I saw someone actually jump and I saw other ships as well when they put those heads that's on and they were walking in the shoes of the people in prison for doing nothing but exercising their Article 19. And if we think about it, maybe we can talk a bit about a vision for the future of this right and other aspects of where we see. I know you, Oysin, are looking at climate justice. Can you share a bit about the future of Article 19 and how art can have an impact on climate justice? Yeah, well, I'm an environmentalist and for me, dealing with democracy and human rights is almost the same thing because the people that cannot respect human lives or human rights also don't respect animals' lives or rights and plants and environment. They are ignorant to everything. So, you know, everything hangs together. So I realized that if you want a green, happy, prosperous, beautiful, healthy planet, you got to battle these bad guys because, you know, they'll ruin everything. They'll chop down everything. And so, you know, it's part of the same thing. It's true, everything is interconnected and that's where I think your artwork as well as Pedro's really does connect aspects because you can see one drawing and understand something that would take an entire book to explain. Pedro, can you share a bit about what you see the future of the freedom of expression and how you see things changing and being able to move in a positive direction? Sure, I mean, again, I'll just say a few minutes ago that my goal is more a freedom of expression for article 19 if you want to see that way, you know, as a ripe for everybody, that's my goal. For everybody, not just in my country but in the entire planet. And it's, you know, I don't know if it's achievable in my lifetime but I am betting on it because I think, honestly, that freedom of expression, it's the way to go because if you have that, it's what is going to warrant it, all the other rights that you really need. I mean, freedom of voting, freedom of speech, freedom of press, freedom of, you know, so it's very important for everybody. First, then anything, be aware that you have rights just by the fact that you are a human being. You have rights. And then exercise those rights and defend those rights if you live in societies when they are already respected because that's another thing. There is not a place in this planet where human rights could not be in danger at some point. So we have to be permanently alert about them. I think that was one of the best points when someone asks a question about what can we do to help? And they said, take care of your own democracy, make sure that life is good where you live and make sure that the foreign policy matches your values. And that's what's so crucial about the Oslo Freedom Forum but also Article 19 that points out that the power of the pen around the planet serves as a tool for transformative change. And UDH Article 19 creates that chance for people to exchange expressions for greater understanding of universal rights as building tools for a better transformative world. Thank you as artists for sharing your creative expressions to educate humanity and inspire initiatives for social change. Mahalo. Thank you so much for watching Think Tech Hawaii. If you like what we do, please click the like and subscribe button on YouTube. You can also follow us on Facebook, Instagram and LinkedIn. Check out our website, thinktechawaii.com. Mahalo.