 the whole time, or do you want us to come in when we're talking? What do you want? I think once we come to the Safe Havens conference for 2020, the Global Stream, we'd like to thank everyone who's made this possible, the generous participants and artists from the November Safe Havens Stream and to the 23 people who were graciously agreed, who graciously agreed to reach out today. Oh, sorry, I made a horrible mistake there. And to the 23 people who very graciously agreed to react today to the short report of that conference, artists are central to all that we do, and today's no exception. Safe Havens is an informal space, even though we have to organize this virtual event in a certain way, we have to imagine it is as safe we are all in a cozy room together, among friends and colleagues, concerned with the same issues, because we are. As this is a webinar, it is not as participative as the other Safe Havens we've had in the past and the one in November as well. But if you do want to write in a question, you may do so via the Facebook page or the Museum of Movement page, and we won't have much time for questions, however, we will try and get in as many as we can. I would like to thank the two moderators for today, Farida Shahid and Karima Binon, not only in their roles as UN special repertoires in the field of cultural rights, but also in their own important ongoing work. The groundbreaking work in the UN special reports has provided us in this field with a sound structure on which to base our work. And they have both been very supportive of Safe Havens. You can read their biographies on the website on Museum of Movement. And yes, and we'll also thank the entire team that worked together with us today. We have Marianne de Villic. We have Frederick somewhere in the background. We have Jan Loth there, also in the background somewhere. I can't see everyone. And once again, thank you. And I hand over to Marianne. Thank you, Jude. I'd just like to remind some people who may not know what Safe Havens is or just to remind people what it is. It started in 2013. Between 2013 and 18, it was held in the city of Malmo, Switzerland. It has been bringing together every year around 200 people who are either artists, relocated artists, artists who have been persecuted, arts organizations, artist residencies, human rights and free speech activists and NGOs, and also legal experts working on these issues and what we call resource givers. That means people who have resources to offer to others, even if it's not funding, but also policymakers and funders. So really the whole, let's say the landscape around freedom of artistic expression. Safe Havens took place last year in Cape Town in 2019. And we had hoped that would be the start of a world tour, but of course COVID came in between. And so now we're all always on Zoom. We organized four days in November, mostly privileging those who are working on the ground in their own territories and the artists, so that they could have a discussion amongst themselves. We made a short, what we call the short report, an edited report of those recommendations, those issues, those trends that were identified in order to give that report to the people here today who are more apt to be the resource givers and policymakers, so that they could then react to it in their own way, what they're already doing about some of the issues that were mentioned or what they would like to do as we go into the future. Our two moderators will each give about a seven to a 10 minute introduction. They're two themes. The two panels are thematic panels. And then they will moderate a group, a panel of around six people each. And then there will be a very short, I'm very, I'm really sorry to say this, but a very short half hour amongst what we call the discussants. And the discussants are asked to either refer back to the short report or they can refer to comment on something that was said during the panel. The shortness of it, the tightness of the timings, it's all to make sure that we don't all have Zoom fatigue, which I'm sure by the end of the week we do. But it's, I think everybody here could ask them to speak for at least 45 minutes and not get tired of what they had to say. So once again, a deep thanks to you because you've given your time and we know that we haven't given you much time. I'd now like to just pass over to Jan Luthe Ericsson, who will talk about the heart of what we do. That is the artist in this case, the musicians. Jan. Thank you, Marianne. So good to see you all and very nice to be gathered again and Marianne, just a small correction there. Although the world is growing smaller, Switzerland and Sweden is not the same, but never mind. We are very grateful for having the opportunity to present engaging and strong, beautiful, artistic interventions as the three ones you heard in the start here, which were small clips from what we presented during the first days in November and more to come later today. These three clips were from engaged and artists working within the ICON program in Malmö and in Hasta. And we've been lucky to be working with all of them. And all these artists we've been working with in safe music is from very different backgrounds, as you also heard on the music, but they also have the common ground in linking, in expressing themselves freely. One of the things that we've done in expressing themselves freely, wanting to express themselves freely in the spirit, in spite of great differences. And linking artists and other actors in the global arts rights justice sector seems more and more important and a very relevant answer to the growing difficulties artists and activists faces all around the world. So looking forward to this day and it's my honour now to present the first round table moderator, Farida Shahid, Executive Director of SIGRAT GAN, Pakistan's largest women's resource centre and national network, the first and former UN Special Rapporteur in the field of cultural rights. On ensuring the less visible voices and smaller on the ground initiatives are made visible, supported, heard and valorised. So Jude, please present the panel for the first round table today. Thank you. Thank you, Jan. We have with us today Magdalena Moreno from IFACA, that's the International Federation of Arts Councils and Cultural Agencies. We have Ayo Dele Ganyu, who's the Director of Ancient Africa. We have Helena Naseef, Director of El Moreno, with us today is also Elena Moreno, based in Lebanon. We have also Jumana Elzain, who's the Director of the Prince Clouds Fund here in Netherlands. And we have Bongi McDermott from the Swiss Arts Council, Division Director for Communications. And last but not least, we have Mike Mueller, the Head of the Martin Ruth Initiatives in Germany. Thank you, and the floor is all yours. Hi, everyone. Good evening, good morning, good very late night to those around the world who are with us today. You know, when I started my report for the UN, a Special Grappenter on artistic freedoms and the right to artistic freedoms and expressions, I had no idea what the reaction would be. And I was also helped a lot by Ole Redoff, who at the time was heading the free news and has since become a very good friend. But really we had no idea how the states would react, how the human rights community would react, how artists in the artists and cultural community would react. Because it was a completely new territory that was being explored. And artists for sure did not know and did not think of the UN as a forum for their issues, even though they were facing a lot of issues and had many concerns, which are absolutely within the center of human rights concerns. So, but I wrote my report, even though this was a new area, because I am absolutely convinced and always has been happy. The artists have always provided us with crucial reflections on the societies we inhabit and the societies we want to create. And long, long before we had social and economic scientists and all these new terms that we had, we had artists who were functioned as educationists when they were promoting values and morals, whether it was through drama or other things. And we had the political critics of the existing systems. And we had philosophers who stimulated thinking and often critical thinking. So artists for me have always catalyzed joy. They also catalyzed joy and well-being, solace in times of distress and trouble. And as a whole, the arts world and cultural expressions really increase our resilience to everyday travails as a psychosocial support system. And so this is absolutely true today too. So a few things just to put here is, I did a visit to Bosnia Herzegovina. And there I met an artist who said he had been so hesitant because he had been asked to play a concert in the middle of the war. And he said, I felt very conflicted because do I do art and music in the middle of this conflict? And so he went to a soldier friend of his who actually said to him, of course you need to play because what else are we then fighting for? So the society that we're fighting for. And artistic expressions, post-conflict situations, they provide a safe space and a space for healing, which the tribunals do not necessarily. And the transitional justice commissions don't either. And this has been related by women in Latin America have experienced it. And also by tortured people in Tunisia have shared this with me. And in Pakistan, my own country, there was this wonderful musician who actually applied to Dixio to earn a living. And when the Taliban took over and unleashed their grain of terror in one of those areas, SWAT, the trauma of his little toddler son was so much that he lost the ability to speak. He could no longer speak. And the Taliban had banned music in all forms of art, of course. And so he had hidden his instrument. And then one day he said, told us he was so tired and fed up, he just went and took out his instrument in the dead of night and decided to start playing. And as he played his instrument and sang, his young son started singing with him. And to me, that is the power of art. It's finding your voice. And it's also why I always stress that art is just not a luxury, which often policymakers think it's an absolutely integral, indispensable part of human existence. And so it must be seen and supported as such. And all our artists and all their diversities must enjoy the full spectrum of human rights and they need to be supported to do so. So I'm actually delighted that I submitted my report in 2013 since then. The right to artistic freedom and expression has in fact gained traction amongst a number of countries and states, and they've taken this forward. And I'm completely impressed by the enthusiasm and rigor with which artists themselves and the art cultural activists and organizations have taken this forward. And amongst them, I would say, things like safe haven. So the topic of this panel that we're here to discuss today to me is an issue which is possibly as old as human beings, which is which artistic expressions are supported and which are not, which get heard and which don't. And financial and other support does make a difference. And I'll just remind you that in medieval Europe, it was the rising of a mercantile class that allowed visual artists to actually take on secular subjects as opposed to always doing religious subjects. So it makes a difference. And in today's world, the issue of safety as well as support remain critical. And unfortunately, as Karima Benouine, who's the current Special Grappity has pointed out, there is more of an environment of competition rather than cooperation. And this to me relates in great part to access, to far from adequate resources for the art world as a whole. So human rights perspective demands that we look at each issue, any issue from the perspective of the most marginalized and those most at risk. And so this is to me why this panel is critical. And so a basic question for all of us is the panel, how to ensure that the less visible voices and smaller on the ground initiatives are made visible, supported, heard, and are valorized. And these tend to be the voices of those who have less access to information, who have less access to the language that's needed, who have less access to the technology and the devices that would allow you to apply online and get connected. And even if you have all of this, if you have the language and you have access, et cetera, et cetera, they may not be able to navigate the very complicated forms that you often have to do in order to get financial support. And this is an issue that I know smaller funders are trying to change and modify and simplify, but to me it still remains. A second issue is there is a tricky question to me of whose visibility is projected. And so a number of donors insist on visibility of their logo, of their whatever it is, without understanding that such visibility often puts those that they are supporting or that they hope to support in danger. And this is something I have emphasized to every EU delegation who comes to Pakistan or where I meet them, that this is unhelpful. And that's also why I greatly appreciate the Henry Shtiftung who does not want their names to be visible and also the Norwegian age, which again has the same policy. And so I understand the desire for visibility because at the end of the day, whether it's government or whether it's other kinds of institutions who provide financial support, they are all also accountable to their donors, which may be citizens or maybe individuals who are contributing. So this is understandable. Nevertheless, I think it is an issue that needs to be put on the table and discussed. There's also then the cost-effective argument, which is much like banks and small loans. Many donors say small amounts of funds for different diverse people is too much hassle. It's too much paperwork. It requires too many people. And in fact, one of the big issues is that many of the larger donor agencies, bilateral as well as multilateral now have cut down staff so much and it's much easier for them to deal with three big grants rather than one multiple small grant. So I think this is something, and yet small grants may be crucial for leveraging what you need to an individual artist or smaller initiatives. So how do we balance the requirements of artists and cultural entities, whether they're activists or whether institutions on the one hand, and then the administrative imperatives of the resource providers? And how can we encourage policy makers to support a new paradigm for this kind of support? So luckily, I don't have to answer these questions. We've got a brilliant panel of people here who will be helping to shed light on how to ensure less visible voices and smaller on-the-ground initiatives are made visible, are supported, heard, and valorized. And we have people from different backgrounds, so they have different experiences of what this really means. So with that, I would like to start by asking Ayodhede Khandju, who is from intro Africa. So my question to you is, what needs to change on the part of those seeking support and those providing support? And they're multiple layers because it's not just two-dimensional. They're various levels at which people need support and they're various levels of people who provide support. And as Marianne said in the beginning, support is not always financial. There's other aspects to it. So how do we ensure also that when you have these multi-layered interactions, how do you ensure that those were least visible and the smallest initiatives don't get eaten up in terms of visibility by your intermediary institutions, even though they may also be artists and also be connecting you? So there's these dynamics. So over to you, Ayodhede, I'm asking everyone to keep their answers to five, seven minutes so that if you please feel free to also come back and talk to each other regarding what other people have said. Ayodhede? Thank you very much, Parida. Before I go into, I don't know if I have to ask, if I have to answer all the questions that you asked at this point or the last question. Okay. Before I go into answering the questions, I'd like to first put the issues in perspective so that we can have a better sense of the scenario. I will be speaking on Africa under my experiences. If an artist is locked up, for instance, he's arbitrarily arrested and detained, the artist in question has a need. You need to be free or he or she cannot help himself or herself. A group or an organization needs to rise up to the occasion. The group or the organization has to be an underground organization, an organization with underground that can take immediate actions. If the violators of this arbitrary detention are powerful people like Govnaud, for instance, in many African countries, you have Govnaud and presidents who have immunity to prosecution. You cannot prosecute them, you cannot sue them, you cannot do all sorts of things. Then it becomes difficult for the local actions to criticalize into desirable results. Then this is where actors from the regional bodies, networks, or international come in to look at, okay, what are those international instruments or commitments that the country involved has ratified and all that. So the multi-layer interaction depends on the individual case. Each case is unique, one way or the other. There are cases where you don't even need the regional bodies to get involved before the result is secured. There are cases where without the intervention of regional and international artistic freedom defenders and other actors, the result of local remedies may be impossible. So this is the city and fortunately we have some success stories that can serve as precedents when we are looking at how do we deal with this visibility for those on the ground making these things happen. Because in all this interaction, there is no way the organization, the local groups and organizations on the ground are not involved, whether it has local remedies or international intervention. There is no way you can insulate them from all these interactions. So in 2016, I was the national coordinator of the Artwork Network in Nigeria. Artwork Network runs the Artwork Africa program, which is the human rights program of Artwork Network that protects and defends artistic freedom. Then an artist, an award-winning artist was arrested and arbitrarily detained. That artist had a need. One of the things that is common in most African countries is one of actions. There are people on the streets protesting, carrying placards to the police and the prison service. After a few days, everything disappears. We don't get results in those ways. Based on experience, we never get results in those ways. We need sustained actions and sustained actions are initiated at local level. So Artwork Network, which also runs the Artwork Africa, was hosted in Nigeria by the Committee for Relevant Art Korra. So I doubled as the national coordinator of Artwork Network in Nigeria and running the Artwork Africa. We took action, we mobilized resources, we reached out to partners, and we were able to get some resources to arrange legal representation for the artist. So if we did not have the support and resources, nothing could be done. So we had had several months of actions, several months of campaigns, several months of legal battle to be able to get this artist out of prison. Eventually we secured the prison, the case was dismissed. So that's how Artwork Africa was the regional body. We had all that organization. We had all the meetings at the time also supporting. That's when we look at the multi-layer interactions. Pre-mails at international level. We had Artwork Africa on regional level and we had the Committee for Relevant Art at local level doing all the work. So these interactions, the reporting, so my first recommendation, how do we deal with this? The reporting has to be accurate. When Artwork Africa was reporting actions and everything, it was very clear that this was a collective action. Committee for Relevant Art has filed this defense against the team of lawyers and others. So the reporting is very important. Accurate reporting to let everyone be aware that this organization is on the ground, drink a lot of work to get results done. Secondly, funding is very important. The resources most organizations, if we did not have funding from the European Instruments for Democracy and Human Rights, that was the support that we got to be able to prosecute that case for seven months. Without that support, nothing would have happened. So I would also recommend that international organizations who have better access to resources can select who they want to work with at local level and put it in their budget as part of the piece they need from their founders and donors so that they can directly resource these organizations on the ground. And in terms of who's visibility is protected, sometimes it is dangerous to also give too much visibility on the front line. Recently, my Nigerian number has been on surveillance because of my interactions and all that. So sometimes in July this year, the ARC, Artist at Risk Connection of Penn America, myself, I was able to mobilize African Defenders Network to a case that we started locally but we did not get results because of the powerful people. A governor was a violator. He could not be sued. So we had to work together in July when I was a fellow in the US, I was able to mobilize everybody together regionally and internationally and committee for relevant heart. And we were able to file an urgent appeal to the African Commission on Human and People's Rights. Something that happened at local level, we tried for one year. The artist was sentenced to two years' imprisonment for allegedly insulting the governor with a song. He was sentenced to two years' imprisonment. For one year, we had done a lot at local level without results. But when we came together as regional bodies and we were able to file an urgent appeal to the African Commission on Human and People's Rights, African Defenders Network and ARC, Artist Artist Connection. And this artist secured his freedom. So the reporting, accurate reporting is key. Putting funding as part of the international organization that has access to it is also very, very helpful. Thank you. This brings us to our next speaker. Very nicely tied in. You've talked about how you need different people at different levels working together. And so I'm going to ask Mike Mueller to come in because he's working with the place temporarily relocated. So when the danger is such that you cannot stay there for whatever reasons, there are initiatives to relocate temporarily. So tell us what the challenges are. And also one of the concerns that I have is really how do you provide more than just financial support because it's one thing that's physical safety and financially because you've been moved out of a situation. But artists also need to have an emotional and social support. And so how is that in your experience of what needs to be done? Yeah. Well, hello everybody as well from my side. Many thanks as well for the invitation. I pretty much can second what I would daily say it before like that it is key to work with the local actors on the ground. And that would be maybe as well one answer to the question how can we achieve that less connected artists from the field on the ground get access by working with local partners on the ground. And that's something we try to do besides the relocation we're doing as well research on the issue of relocation and we currently in a research project about shelter and relocation for artists in Latin America and Africa. And it seems that there is like a divide between the human rights defender scene and the artists seems like different ecosystems that are growing more and more together but there's still a lot of room to create like a connection between this two ecosystems because we see that in the human rights field like the organizations that do relocation for many years and what you asked for like the more holistic approach in providing as well psychosocial support maybe security support and other means already well included in these human rights relocation programs but normally not part of residency programs for artists who are not maybe so focused on artists at risk. So I think a big possibility or opportunity for us who are in the field is bringing these two different scenes together and working with them so that they can share their knowledge and maybe even work together in providing the support for the artist at risk in different contexts. Yeah, then like on the emotional and psychosocial well-being as I said in the human rights scene there's a lot of research was already done and we did research as well as the University of York and there are good guidelines like the Barcelona guidelines on the well-being of human rights defenders in relocation that I think are available as well for the artists who are relocated and we're trying to give these kind of tools as well to the artist at risk and it would be interesting to discuss with the wider scene here how we can jointly access well maybe sensitize as well the community so that they make use of the tools because we see that maybe the human rights defender scene is accessing these kind of tools but we see in our practice that in the art scene especially the perspective of security and psychosocial support is less taken into account or it's now growing but there's something I think we can get better so thank you. Thank you so much. I think one of the issues that we may want other panelists to come in and perhaps those who are coming from outside is the question of labeling and language and human rights defenders versus non-human rights defenders. It's something which also occurs in women's rights because women who are survivors of violence are not necessarily thinking of themselves as human right defenders but they do need the support so I think hopefully that's changing so I would like to move to Yemana El-Zen and ask that you know we've heard from both people from everyone so far is that you need to have an interaction between different levels you need different kinds of support you need linkages etc so how is it how is this a challenge perhaps for those who are providing resources because there's diversity and sometimes it's a very unique case and you need to respond to an individual case and not necessarily see this as a broader thing every case may be unique and require specific attention so Yemana? Yes absolutely I mean for an organization that works in supporting cultural expression under pressure and that works in many regions in the world this diverse I really like the word of intersectionality in the in the report actually because it's really what defines how we do it and we have basically a motto that we we work with at the Prince Class Fund which is not about us without us so we really rely very heavily on our partners that we are supporting as well as on our larger network on the ground we are of course a small office that is based in Amsterdam where we don't have regional offices so our eyes our ears are very much our network on the ground who we constantly are in contact with or constantly asking you know what is the best way to do this if you get an award for us yesterday we had an award ceremony before we even announced the laureates we actually speak to them and tell them you know what is the level of security do you want us to announce this etc so this continuous discussion is always going on and that you know starts from the beginning of what kind of support do you need towards how do we communicate on that support to you know how do you want to report on it but also circumstances change so we work in areas where wars come out or where there's COVID for example so you have to be continuously flexible in how you work and that is of course always a challenge but that is a necessity when you work when supporting cultural expression under pressure in so many different areas of the world and I mean we've heard time and time again how important that flexibility is and how important that one-to-one relationship is also and that's something that we value very much I also wanted to just react quickly on what you said Feridou when you started off we have a motto at the Prince class which is that culture is a basic need and that is something that actually you know is more and more important in today's world where it's not enough to have health to have a roof over your head but culture that constitutes your identity is very important and supporting that culture and you know being able to understand how do you move it from one place to another with you is also quintessential basically so that's my quick reaction to your question Thank you so much I think that's really important the flexibility is one of the big issues that always comes up and this is the third time every speaker is emphasizing the need for good networking, good connections and the agility I think you're talking about to respond to circumstances that in situations like like COVID or other crisis situations can change very rapidly and you may need very nuanced responses this is a challenge for institutions so Bungie McDermott in terms of the Swedish Arts Council what is the experience that you have had in terms of enabling flexibility and ensuring that the networks on the ground are so strong that you are able to make the best decision and those people on the ground through these multiple layered connections also stay connected and make the right decisions Yes, thank you and thanks so much for inviting me to speak today and also to comment on this report that we read before the round table which is really interesting for us at this point and we're actually at the point of developing a programme to support artistic freedom globally so I must say that we don't have much experience yet we haven't actually started the programme properly but another thing that I'd like to start off with saying is that I really think that both you and Terima Benon's work has been really important in so clearly stating the importance of recognising cultural rights and specifically the rights to freedom of artistic expression as human rights and with the same standing as other rights my interpretation would be that these reports have helped us move forward as a government agency in being able to get to this point where we're going to be providing artistic freedom in participation with Swedish International Development Cooperation Policy Freedom of expression has been at the core of Swedish cultural policies since the 70s and that also means that artistic freedom is integrated and has for a long time been integrated throughout our mission a mission that has largely a national focus but then for the last 10 years we've had a mission to promote safe havens for threatened artists and it's as you know a system carried by cities taking responsibility to give a refuge to threatened artists and the government funding on this is fairly limited but can fill an important part in making it possible for an artist to be visible and also to connect to others in their field and also to have this professional context and at best perhaps also lead to emotional and social support which is sometimes the case and obviously as you say not always unless the report points out such an important part also so we're aware of the challenges of relocation, post relocation even though that part isn't covered by our mission at this point but then to move to this to our new program connected to artistic freedom and given the state today of artistic freedom in the world and also amplified by the current situation of the COVID-19 I'm so glad that we have signed an agreement with SIDA which is the Swedish International Development Corporation Agency to conduct a new long-term program with the aim of supporting and protecting artistic freedom on a global level and I do think that a specific mission for us to promote synergies between cultural and development cooperation policies this mission has been crucial for the possibility for us to also move ahead with this partnership it's also been important for the partnership that cultural actors are defined as actors of change in the strategy for Sweden's development cooperation in the areas of human rights, democracy and the rule of law and this is where I also think that your previous work as a repertoire of cultural rights have played an important part and I suppose as a general response to the report I could just give a brief presentation of the program to support artistic freedom in which we're just in the process of reviewing concept notes from a number of invited organisations it's very much at the starting point the direct target group of the program is organisations who work to promote artistic freedom that are classified as eligible for official development systems and we've set a number of intended outcomes between 2020 and 2023 and one is improved conditions for artists to work without being subject to threat harassment and other ones increased opportunities when needed to access the safety and other ones increased number of countries that provide improved conditions for artists to freely create display and distribute their work also increased capacity to network on an international level to share knowledge about how the conditions for artists can be improved and also increased capacity of relevant actors to strengthen women's opportunities to be artistically active and at this initial point of the partnership we've chosen to focus on organisations working specifically to promote artistic freedom mainly with regional or global reach and this is a three-year project in which we expect to build knowledge about how to best promote artistic freedom and also build our own capacity within our organisation when it comes to international development cooperation so it's a learning process for us in which we hope to lead to long-term cooperation with SIDA and also a possibility to develop the programme further so for us a round table as today is also invaluable as well as the report to which we're responding to but when it comes to the recommendations in the report to support grassroots initiatives I believe that one of the reasons SIDA has gone into this partnership is what you were previously talking about as well founders finding it difficult to fund smaller organisations and focusing on larger ones and I do think that we have a little bit more flexibility and possibility to do that but we're not all the way there yet but they do have SIDA would have a challenge coming to supporting smaller organisations so we do also share your analysis of the need to support artists and cultural rights defenders on the ground and as you said Ayed Ali as well you must be on the ground to be able to take immediate action, I absolutely agree with that we also see challenges in finding grassroots initiatives in all parts of the world that have the capacity to handle this kind of support connected to the demands of reporting etc that's connected to it and I do think we'll find ourselves in a situation where we might first need to build our capacity to support smaller organisations or we'll also have to look at finding intermediate organisations at this stage we're looking at finding a balance between strengthening the people on the grassroots level at the same time as supporting international organisations that have built larger capacity networks and who can also make it possible for local organisations to work sometimes under the radar or with protection from these larger organisations and also sometimes with the protection that international attention can bring as you point out in your reports supporting cooperation can be key and we'll also look at how this might be possible especially in a longer term perspective and there are of course many other important recommendations given in your reports such as the need for joined up monitoring of violations against artists in Africa and other parts of the world and such as Asia also and also research on artist security and then as we're in the middle of a process of identifying partners to be able to respond fully to all the point parts of your report but we'll certainly bring them with us as a really valuable input in your work so thank you for that Thank you so I hope that some of the ideas and discussions that we have today you will be able to take forward as you move forward in your planning and how to actually implement what you're doing I think one of the things that you could think about for instance I think the point that you made between synergies between the cultural and development areas which are often divided governments etc is crucial because art is not seen as development right so we just need to sustain ourselves but we don't see it as development but the other thing is that maybe you could also think of the larger partnerships that you're hoping to have with these regional global entities perhaps a conditionality or part of that could be to ensure that they do provide that shelter and support that part of their funding would have to go towards supporting those in need as pointed out right in the beginning sometimes they need to work underground because the situation the form of the danger may be very different in different places but also development and separating development and culture comes back to a question I'm going to ask our next panelist because when I did my report I was very clear that artistic freedoms and expression the right to artistic freedom the right to freedom of artistic expression is not just about freedom of expression it is also about livelihood it is about ensuring that the artists are able to survive and this is what the cultural rights is about is that ensuring that everyone has those opportunities and access to the resources that they need so I'm going to ask Helena Anasif to come in on this because she's been working in this area of livelihoods because it's not just freedom of expression one side the other side is survival and livelihoods thank you Farida I'm happy to be with all of you for the first time in safe havens thank you for the organizers for conceptualizing this important round table I'm representing cultural resource El Mauridil Fakaafi which is an organization regional organization in the Arab region currently based in Beirut that supports cultural and artistic creativity across the region since early in 2019 our stand for art program which is an artist at risk program started to receive applications from artists requesting livelihood support due to economic hardships at the beginning the program advisory committee assessing the applications was keen on preserving the program's priority for and allocating the budget to serve threatened artists due to clampdowns on freedom of expression and artistic freedoms across the region however with the increase in applications the program and the committee engaged important conversations around the interplay between political and economic risk factors leading to artists leaving their countries and leaving their careers we asked ourselves who is at risk and why during economic crisis and in states under crisis are there links between economic hardships and oppositional politics we rewrote the program concept to the commitment to serve the needs of artists in dire straits affecting the pandemic in no time the COVID-19 pandemic magnified the vulnerability of an already vulnerable group artists and cultural workers were being threatened to fall into poverty because of working in an informal sector or what we call the big economy in states living through deep socio-economic shifts facing fiscal deficits corruption and increased authoritarianism while our program remains the only program in the region providing support to artists at risk our sector came together to support artists suffering from the impact of the pandemic in the absence of rapid, efficient and transparent governmental response programs we acted fast in developing programs that provided one kind of societal of social assistance which is like cash transfers to artists and cultural workers Stanford Art developed a special COVID-19 component supporting more than 120 individuals in five months but other three organizations Action for Hope also initiated a special initiative to support artists and all of us reached out to more than hundreds of artists these programs were founded on the principles of social justice social solidarity and human welfare and we took the initiative to share and update the data amongst ourselves thus developing an internal confidential integrated registry none of us published the names of the grant for art program neither the ones who are at risk nor the ones who are seeking hardship assistance with these great efforts that are very much needed the pandemic remains a stark reminder of the price art are paying in states that are failing to ensure social protection I would try in short to give a little bit some voice to the artist I looked at the applications which are in Arabic because luckily they are able to write the applications in Arabic without needing to translate so I'm choosing some of the terms they used I'm looking at the applications linked to the COVID-19 component so they are independent artists non-partisan not receiving governmental support because they are not loyalist to governmental politics they are not receiving services or benefits from syndicates because also these syndicates are linked to dominant power structures they describe their work as informal daily per project per object per person highly inconsistent and experience the COVID-19 pandemic nothing stress and fear leading to major loss of work opportunities as we know that and more that dwindling and no savings delays in paying the rent reaching sometimes to homelessness in the absence of alternative sources of income and the absence of social protection this is happening in context where local currencies are losing their value and the savings or earnings in local currencies had very weak purchasing powers at the same time these artists were not able to monetize their growing digital activity and online presence the most vulnerable are the non-citizens and displaced artists those suffering from health problems physical and mental artists with dependents either their parents or their children artists from areas specific areas across the region specifically Gaza Strip for example I will close by recommending and commenting briefly on existing recommendations I started in fact by being inspired by the phrase in part of the report that says in many countries it's impossible for artists to function not only because of repression but also because of the struggle for a basic livelihood I would add that there's a need on the ground for rapid interventions that would protect the many cases that require reliable structures emergency support to act as hosts and to secure new income opportunities new income opportunities are very important it's important to support artists at risk residency spaces or hosting artists at risk in their cities of refuge where there are no similar services for an enough period of time because usually sometimes these periods are not long enough to rebuild their lives after approving and dislocation and talking here about only like European cities also across the region and in Turkey and other places it's important to plan building the capacities of local and underground initiatives as long-term partnerships and not short-term projects because in our case as regional organizations we want to engage with local underground initiatives but we are very much worried that there will be engagement as short-term projects and start to support these initiatives and then leave them like in the middle of of the well so it's important to look at these as long-term partnerships and to find ways to sustain these partnerships it's important also to ensure the inclusion of non-citizens artists as part of the vulnerable population of informal workers deserving targeted social assistance such as cash transfers when prioritized by governments or international organizations and it's essential to keep supporting structural efforts to ensure artists can earn their living from their art whenever or wherever they are relocated if they are not citizens in the countries they relocate to thank you thank you so I mean very poignant points in the impact that COVID has had the struggle for livelihood and continuity this morning in fact I was just this morning seeing a picture of a Brazilian musician with this entire family in this almost cardboard looking structure that they had been put up with but the trouble is the governments are running out of money so how long the next month and the next month so a lot of musicians depend on public interaction when there is no public interaction because of the pandemic which to me is really ironic because what I saw on television because we're all nicely socially distanced and becoming chair embedded people was how musicians and even some performing artists in different countries sang, played music did performances in the public or put them up on YouTube whatever and I think that really helped people's sense of well-being in a very difficult situation of loneliness, depression and etc so again to me just underlying how important cultural creativity and expression is for humankind and on that I would like to turn to Magdalena Moreno and ask her because this is something I hear again my big fear is and is also brought into the report is that with the COVID pandemic which to me in some instances at least seems to be instigating inducing panicked policymaking people are worried, I worry and we all worry that the little support for the art and artistic expression creativity musicians, artists themselves will get further displaced so tell us what you think what your thinking on this is what the experience is in terms of where you're sitting from. Magdalena? Thank you very much, it is a real honor to be here so I am based in Australia but I am from Chile and my previous role to working for the International Federation of Arts, Councils and Culture Agencies was working for the Government of Chile actually for the National Arts Council for Culture and the Arts so if I change from one hat to another that is a little bit of context and I'll make that clear so first of all indeed there was a level of panic you are absolutely correct and I think that although we hear this word precedented quite often for agencies that are dealing with what particularly might have been semi normal circumstances and obviously a whole range of internal each organization dealing with our own structures and approaches and responses to government, community the artistic sectors but all in all there was more or less a level of stability. Now that's not to say that it was in a good place because I think that what COVID has done is demonstrated how imbalance it was pre-COVID but more or less at that point there was a sense that you could tweak you could adapt certain policies there were issues that would come up obviously freedom of artistic expression was a very important one but there was a sense of well how do we unpick them and go deeper into them so the role of the Federation the Secretariat for the Federation that I lead in 2018 was very much about on the one hand supporting these agencies which are across all the continents some very large like the Arts Council of England or the Swedish Arts Council and some very small like the Department of Culture for the Solomon Islands so with that sort of context and reality how do we on the one hand support them but also how do we give them a sense of what is happening around the world like some discussion and debate in areas that they may not be let's say familiar with but also might challenge a little bit of the status quo in which they are operating and I guess to that I want to highlight and thank all the work that you did as the first UN Special Rapporteur and Cultural Rights and obviously the work that Karima did especially because we utilise that information in the international context to talk about universal issues and for example to be quite precise we invited together with the government of Malaysia we invited Karima Benu to be our keynote for the last World Summit in an environment where you would have thought that it would have been quite complex to deal and discuss certain ideas but it actually became a safe haven to have those discussions and I honestly believe that the role of the UN Special Rapporteur and Cultural Rights allowed a safe space to actually tackle very complicated and at times uncomfortable issues for people within the one room so first of all I want to say that before Covid IFICA has always and certainly since I have been executive focused on the notion of participatory governance of culture which means that the right and the importance of everybody to influence and shape policy, public policy and public policy for culture and in that sense it is absolutely paramount that whether it's and I like the idea of the resource giver I might steal that concept if you don't mind because it's so much more open and porous and allows for a dialogue which I think that sometimes is not happening and a dialogue which I might critique in a minute isn't only a dialogue issue of the funders sometimes it's an issue of certain parts of the sector as well but I also wanted to say and with Mary and the League here present that IFICA commissioned a work, prepared a work called Artist Displacement and Belonging to start to tackle this very big issue around the relocation or the displacement of artists but looking at it from the funders perspective and I must say a lot of people don't actually know how to deal with it you know there are some agencies that do have that embedded but a lot of them the first reaction is that's it that's a human rights issue that's not an issue so what we've focused on and Mary Ann played a very key role here is to actually change the narrative around that well let's have an arts conversation so the responsibility of your agency is to ensure access that culture value chain everybody has the opportunity to create to present their work, to distribute their work and to participate in cultural life so whether citizens are non-citizens they are residents of your country so how are you looking after them and so then to me that leads me to this really interesting tension that someone has already raised around human rights versus cultural rights because at times and what we found working with artists and this maybe goes back to my role in Chile is that artists when say displaced artists if they're going into those environments they want to have artistic conversations they don't want to be defined as a displaced person and so they go into an environment and they're defined and this happens a lot in the developed countries so they arrive and they are put into the community cultural development you will work with the people that have gone through trauma but many of these people want to be filmmakers they want to be painters they want to express themselves they don't want to be categorized with that and have to carry those so I think that is part of there is a tension and there's an opportunity to change some of that narrative around the other thing I would say in terms of the this sort of tension is around the gatekeepers because one of the issues that we found in that report around artist displacement and belonging was that there might be government directives about being open about having an equity or diversity agenda but there are sector this will be an unpopular thing for those in the artistic community but there are some members of the community that don't want change and don't want a different aesthetic and are quite challenged by the idea of a person that is coming in from a different cultural context bringing in their different aesthetic and rather than having an artistic conversation it's about protecting what's theirs and that's where you know there are certain gatekeepers and there's gatekeepers everywhere so I think having that open conversation is absolutely paramount. The next thing I would say is so they're now moving into COVID you are absolutely right that this sort of situation of immediate panic we've been monitoring this since March and because we're in Australia we've also been not only because but because we have members in different parts of the world we've been able to monitor and have those in-depth conversations as the different parts of the world and we're in constant contact with Koreans in the third wave Sweden is going through their second the Latin Americans are still in the first so we get a sense of where they're at and yes there was initial panic but there seems to be what we're noticing and what we're encouraging is a move to look at the longer term and use this opportunity as a step change to go going back to the same before there were already significant issues there were dominant narratives there were structures that quite frankly needed to be dismantled is this an opportunity for a significant step change and that's where I would say the point about the small organizations is absolutely critical because the small to medium organizations that's where the innovation has happened that's where they are at the fringes that's where there is that flexibility and resilience to respond and so it is really important that those types of organizations are absolutely supported so I guess over this period the issues that we've seen that are the kind of the key issues and I'll finish there lives and livelihoods so not just livelihoods but actually lives being at risk do you walk out the door to practice but that is significantly potentially putting your life at risk all those around you and not due to the health but also because you don't have food on your table so it's that sort of and certainly that's where you have been discussing with a lot of our members in the global south the challenges and protecting labor rights you've discussed that Frida we also see that in terms of the freedom of artistic expression it's a much bigger conversation around the social economic and other conditions of artists to be safe to be able to create the creative and cultural sectors falling within the cracks of government services and safety nets so this whole issue around the gig economy the informal economy so when fantastic stimulus packages come out there is a danger that these artists or the independent sector fall through the crack the need for agency avoids in broad debates to expand and have that conversation and that also speaks to the fact that the stimulus packages are going to end certain countries have received increased budget that's going to end so where are we going but the needs continue artists are at risk more than ever so we need to make sure that we are having conversations cross-sectorily so that cultures being embedded in health in education in a whole range of other spaces and portfolios that maybe we wouldn't have a role increased issues around well-being in mental health at least in Australia there is seeing a lot of suicide from artists that simply don't have nowhere to go issues around unemployment challenges around monetising in the digital space remuneration and protection of IP and that's just to name a few and then there's a whole other area around what is that risk but I'll leave it there sorry I'm a bit passionate about this we need passion so just to reassure you that when I started the task of cultural rights mandate I had people who spoke culture and I had people who spoke human rights they did not speak to each other so I am really happy to see that the human rights language is being picked up by those who are working in the cultural rights and vice versa so it takes time I do distinctly remember that you can't have these two conversations so let me say we have a little time Maryann let me know if I'm wrong but I would like to give everyone an opportunity two minutes, one minute to respond to some of the key things that I think have come up here and in terms of the way forward I think there has been one has been this entire area of further networking and languages and conversations that need to take place they've chopped up lives our lives are integrated and so should our development our culture, our human rights conversations can't always be separated somehow we have to bring them together they are not separate for those who experience them and then the mental health so where are those forums and I take on board the safe spaces because sometimes these spaces need to be created where you can actually have such dialogues so maybe for instance that's where your institution can come in to organize because you're working at the global at the regional can we put some conversations out there which would help us take this forward the second is just the networking which I'm not talking about the conversation and the narrative but it has to change anyway and how we think of development and everyone is talking about build back better now so what does that really mean and of course disasters and calamities are also always seen as opportunities to change what didn't work in the first place but they do highlight everything that was wrong to begin off with but I think the articulation of networks because as pointed out from Ayodhya all the way through different people bring different things to this this area of safety, of creativity of inclusiveness and we have to see how this is articulated together I don't know if those conversations are taking place between networks those people who are supporting it but maybe there does need to be something about that and so I think these are the gatekeepers so the threats that come from political oppositions or political reasons threats that come from not having financial resources to have a livelihood and your life protected from the pandemic that's there but also from gatekeepers and also from competitions from within the field so these are some of the key areas which have popped up to me I'm sure there's lots of others but if anyone would want to comment please go ahead I guess you can raise your hands I'm not sure how this is supposed to work but please Ayodhya should we go back to you and have just a quick round but we have other people Marianne how would we do run this well you've got until 1455 and then the discussants will also react to what was said so if somebody wants to make some quick comments now and then we'll pass on to a discussion of your panel by the discussants so maybe we can give all the panelists a minute to wrap up if we do that we have one person that I see with their hand up from the discussants that's Matthew Kovic if you would like to unmute yourself if somebody needs to unmute him can we request people to keep their comments or questions short so that everyone may get a chance to speak this working can you hear me yes we can and we can see you too very quickly you know I'm fascinated by the conversations and what people have been saying in regards to the two communities of culture communities and the and the human rights communities and the challenges of making them speak to one another this may be a very perspective that's coming from the residency program that we run in New York but I think that there's a third community that's critical to this and that at least in regards to musicians but I think probably in a lot of the art forms is the community of the industry that the art is connected to at least here there's a big gap between the culture sector which sees itself as being promoting art and the music industry which is where most of the artists that we're working with are actually trying to get themselves to in order to make a living ultimately and we've been trying to figure out how to bring those the industry side involved to understand and speak with the culture sector and the human rights sector but that's the gap between those conversations enormous and certainly one that's challenging but I think it's part of the part of the project here I think it's absolutely right my question is whether any of the business creative industries have social corporate responsibility programs which they should have I'm not sure but that's one of the areas you're quite right the private sector is a key area a key actor in all of this so it's not just government it's the people the government and the private sector business which is very important I did it I just wanted to quickly comment on the narrative the conversations I think in Africa especially I think our attention has been focused more on reacting to emergencies reacting to situations of risk and all that we also need to be more proactive so in talking about we need to start countering those narratives for instance in Africa there is this narrative by official, by politicians, by clerics the westerners through this artistic freedom thing are trying to propagate gay rights and gay LGBT things that is not part of what's in Africa those are kind of narratives that are going on and we need to start also implementing programs that will reorientate people it's very important that way as we are we'll be preventing violations also in terms of what I mentioned earlier about accurate reporting, I like the way the Executive Director of Premiums then in 2016 Ole Righto and ATIA Network Secretary General which are all big, I like the way they work together in giving visibility to the local organisations working on the ground we need to take a cue from that, we can also as we emphasize collaborations and partnerships it's also very important for us to give that visibility and accurate reporting in our results also we need to engage sensors boards those who are censoring hearts how much we engage them with UNESCO instrument UNESCO convention that they ratified many African countries have ratified UNESCO conventions but many of these sensors boards will censor restrict freedom of artistic oppression are not even aware of them it's very important for us to start implementing programs, collaboratively locally, regionally and internationally to get these people sensitized about their commitment, thank you Thank you, Mike, you have the floor Mike Mulder Yeah, thank you very much well I just like to respond to one of the points which was like the access and challenge as well for for the funders or the relocation programs from our experience it's a little bit like a big donor maybe like CEDA for them it's difficult to disperse money to smaller initiatives we like to do it but as well often I think people on the ground forget that us and others have funders as well and we have all these regulations so what we see there's maybe as well a need for capacity development so that local entities are better prepared to do the application processes and then to administer the funds and that's for from our side I think it needs really a cooperation in creating capacity development for this specifics because a lot of the funders even if they want to they cannot change certain kind of rules but I think we can help the people on the ground so that they can yeah, apply and successfully administer these funds but this is something where you need I think longer term cooperation and it's also something which is difficult that only one institution or one funder is doing so so I think that's maybe as well a good field for cooperation between different donors and actors in the field working together with regional and international organizations to identify certain actors and really to build capacity so that they have access to funding streams and application possibilities thank you great thank you I think I have 20 seconds to wrap up and thank you all for your presence we are about at 55 minute mark but I think it has been very creative thank you everyone for your inputs and insights I do think conversations need to continue that's what I've understood you do need those meetings you do need networking amongst the various things also to learn from each other and putting together what may be the best practices and I know that it's difficult to change how governments function because they are institutionalized it and heavy and whatever but we need to start the conversation if you don't start the conversation that change is not going to take place so you need that narrative you need people to come in and say what needs to happen in order for the discussion to take forward so thank you everyone and back to you Mary Ann I am handing back thank you so much Farida and the session you just had with the group I'll be announcing the discussions for pulling your discussions right now we have Javier Blanco who is the communication and reporting officer at the EU protect defenders will have also with him Santa Ericsson who is the protective fellowship coordinator of York University Center for Applied Human Rights also joining this panel would be Julius Henike from the University of Hildesheim Germany is also the UNESCO chair for the cultural policy for the arts in development and we also have in this panel Cheryl Paul Menendez senior program manager emergency assistance at the freedom house based in the USA um sorry and lastly we have Svetlana Mincheva who is the director of film programs of the National Coalition Against Censorship based in the US so thank you very much and the floor is yours. Yes, thank you very much I guess I should start listening to the different interventions and especially referring to the conclusions of the report I was thinking a lot and I find that actually there are several aspects in which I could highlight the contribution or the role of a program like protective defenders at EU which is basically the name of the EU mechanism for the protection of human creatures and is put in place by a consortium by a consortium of 12 international organizations and that's why in the first place I would welcome in particular those recommendations and those conclusions of the report with regard to the need for increased coordination and collaboration between entities I think that this is indeed essential and in our work as a consortium we see the tremendous value of the coordination and the collaborative work is of course a work in progress but protective defenders at EU is after five years of existence is an increasingly sophisticated part of our essence and part of our daily work but it's also at the core of the way that we try to approach as partners every case every case of support to defenders and every program of activities that we do and now when seen with a bit of perspective we can see how precisely this cooperative fluid and complementary work brings not only more efficiency but also allows for better solutions and also to combine our different resources and our different expertise to bring unique and different ways to provide better responses. Our program more than a program is a toolbox and allows to mobilize different strategic interventions in support of defenders at risk and I believe that a large part of the capacity of this mechanism to be impactful is based precisely on this ability to combine different actions to bring differentiated solutions that actually work for the people instead of strict top-bottom programs. As you know, after a tech defender we can manage from urgent protection through small brands to seed funding or core funding for human rights or community initiatives. By the way again connecting with the report supporting grassroots local voices including new ones including innovative projects including the voices of youth or underrepresented groups too but we also develop training capacity development as well as advocacy a lot of advocacy mobilization work and we are lucky enough to have the flexibility and actually demand it to combine so to say in-house all these measures we're supporting these defenders that we work with and that's why again I see that the coordination of the resources to me seems essential. I think that one of the examples of this that actually connects to another point in the report and it's precisely the way in which we are developing the program that traditional links protect defenders to a space like this one today which is our role as funders promoters and coordinators of temporary relocation programs for defenders this is as I said only one area of our mandate but in managing this temporary relocation programs we are precisely trying to promote on the one hand sustained coordination with many many actors but in the other hand in practice we are trying to promote a broadening in the consideration and in the understanding of the needs of the defenders that is trying to apply a lens of a comprehensive approach to the protection of defenders and artists whose relocations we support taking into account all the dimensions of the person and including the collective dimension and we see this in practice of course in the effort to integrate psychosocial support as an essential part of any relocation and also by making these proactive efforts to integrate elements for family protection for example either by relocating family members when it's possible or by supporting in other ways those who stay behind and we see that in this way we are contributing to make the relocation opportunities more accessible in particular to women human rights defenders another key point of the relocation as you know back to your point Javier in a few minutes I just want to give everybody enough time to voice their opinion so we'll move now to Sana is there anything you want to comment on based on the last panel Thank you very much Jude and for everybody who's spoken so far it's been really enjoyable following the conversation I think my points will touch mainly on the report but also bringing up a couple of things from what the panel has spoken is around networking and perhaps partly also funding so I mean we are based at a university and we do temporary relocation but we also do research on human rights defender protection and with some of our research addressing the arts and human rights so it's a bit of a mix and so my comments relate to networks and building regional spaces of safety and new modalities for building stronger regional and local responses to protection from the point of view what we as an academic institution are doing so one of the report's recommendations was to do more collaboration in return like the return of human rights defenders or artists back to their home countries so doing that between the relocation schemes and the local organization so that's something that we are actively trying to do but we've also realized that it's harder to do in cases where there are no existing strong local networks or local or regional organizations so in for instance in the case of the San Juan of Africa it's a lot easier to do because of programs like Defend Defenders or the African Human Rights Defenders Network so to support local and regional new temporary location initiatives we have already for some time been doing some consultations for other initiatives in the global south and elsewhere so trying to support building these kinds of initiatives in the regions and locally and we're also really keen to support other universities interested in doing the kind of work we are doing and we've done some of that in the UK not so much and even the US but not so much in the global south where I think it would be very interesting to get more collaboration between human rights defenders and academia and from an academic point of view we have two new research projects starting early next year on university and civil society collaboration the project with a protection of knowledge, physical protection and the university's societal role as well as their role in conflict prevention aiming at reimagining the university so really looking at how universities can better collaborate with and protect civil society so this is a global north based university the University of York working with localised partners who conduct the research and use a bottom-up approach with the intention also of learning from the global south so we've got partners in South Africa Uganda, Thailand and Colombia and my colleagues have also done an earlier research project called Development Alternatives where researchers from Europe are working with the NGO Action Aid an artist and activist from Uganda and Bangladesh to imagine alternative futures in terms of development and human rights looking at how art and activism can work together in these imaginings so I think in short artists in civil society actors can find partners from academic institutions in rethinking and reimagining what our protection practices can look like and also there are funding opportunities through these academic collaborations which is perhaps something that we're often not thinking about so that's my contribution. Thank you. Thank you Sanna. We'll move on to Julius, Julius Henike from the University of Yiddish sign. Is there something you would like to add to the conversation? Yeah to make a long story short and the panelists have shown I think very clearly that there are many important successes and projects in the challenge of making less visible voices visible and available. I want to share one experience with you because the Prince Claus Fund and Jomana is here so I mentioned it, honored some years ago, I think five or seven years ago, the Amakosi Art Center in Bula Vival in Zimbabwe and I know this project very well and the Amakosi tries to give children and young people in Bula Vival and the rural areas voices and opportunities for expression and the team and this is very important encourage them not to report what the international programs want to hear but to go their own way and I find this self-determination and I think a lot of panels have already mentioned it incredible important this is a crucial point of our research at the UNESCO chair how self-determined are the decisions making processes when participating in such art programs and in which context do the young people express their wishes and have the capacity to develop them and this is also a question of valor valorize because you mentioned in the report the question of language and we can bring you give a jungle here into mind I want to suggest here that there are a lot of new possibilities with the help of digital tools not only for easily understandable language and last but not least the smaller on the ground initiatives are very important to transform the international art scenes in a post-colonial sense however I want to stress Peeback's question again how can the subaltern be supported and not only to speak but also to express his and her personal wishes and views and I think this was mentioned before this also means and I come to an end and transforming our categories of evaluation assessment observation and scientific analysis here too it is a matter of finding innovative methods of hearing the silent voices and this is an important task now for universities and scientific institutions thank you so much Ilyas we'll move on to Cheryl Mendes I'm sure you must have been listening to all the discussions so can you contribute to this as well thank you thanks so much and thanks for the invitation I work at Freedom House and we provide support to human rights defenders as well as civil society organizations and including artists and artist associations through advocacy grants resiliency grants and you know in thinking about what the panel had talked about as well as the safe havens report one of the areas I'd like to talk about is on language and specifically when you know often in the human rights defenders protection sector when an artist is at risk and they may not identify or classify themselves as a human rights defender protection mechanisms are then trying to fit them into a category in order to provide them support and I think that it's very important as the panelists at all have said on collaboration and networking etc but I think also on education education are educating ourselves educating funders whether private or public funders you know on not only the challenges and threats that artists face but also how they identify themselves and not to fit them into other categories whether it's for example a writer trying to fit them in the journalist and distress category or otherwise and I think that you know many times funders are asked or we're all asking and it has been mentioned for funders to kind of encourage collaboration and discussion and dialogue and I think that you know part of that has to be you know thinking about language thinking about also the real gap between as Farid had said who is funded you know when you think about you know there's kind of a heavy emphasis on you know assistance to for example political and civil rights defenders which artists would fall under but they would also fall under economic social and cultural rights and these worlds you know when it comes to protection or when it comes to funding are often separate we work not only globally in support of human rights defenders, activists, artists, journalists it's at lawyers at risk is when we're in these let's say sectors because human rights lawyers at risk or an artist is at risk and then their lawyer is at risk because they're assimilated as their client we try to bring these you know sectors and networks together you know because often and almost always we'll see when a human rights defender an activist an artist a journalist is at risk you know those in other communities are also facing those same challenges and we also see that for example with the rise of legal and judicial harassment you know this affects artists this affects land rights defenders this also as had been mentioned you know in areas of development you know where artists and land rights and environmental defenders and journals can be all at risk because of whether multinationals whether you know international financial institutions and I think one of the biggest challenges because I think there is a willingness to collaborate and build out you know and community building and coming together as a community is to get all of these strands and sectors to come together which Ravens is doing which you protect defenders does frontline defenders ifyx you know and many others and I think that there is a space as well where all of us should also be you know engaging in or helping to promote these dialogues and one area for examples with the human rights funders network which is private you know foundations whether family foundations or you know large foundations regional foundations international foundations etc who open up a space you know for these very dialogues and again because I think it's really important for funder education and also sector education because just as there's been much greater awareness on the threats and risks of environmental defenders who also may not self identify as a human rights defender for example or you know want it in the context of their community or on women human rights defenders and the threats that they face as a woman human rights defender both for the work that they do and for who they are you know I think that same attention that same dialogue that same collaboration and awareness and education you know when artists are at risk and not trying to fit them into a peg of you're an artist we understand who the surveillance are what the threat is you know but then you're a defender and you know within the confines of our you know let's say you know grant agreement you know we have to classify you as a defender and you know I think that it's more about educating and I also think unfortunately you know because that also ties into funding and the availability of funding you know and also the kind of you know siloing of artists you know into you know funding for cultural rights but not necessarily funding within the broader human rights spectrum and I think the other thing is that you know when when one sees it an artist at risk as I mentioned before that's also often coupled with their the lawyer you know who's representing them who is then at risk or a journalist covering what had happened and I think that more and more we're starting to understand and again because you protect defenders and safe havens and many others Penn you know and many others you know where these you know kind of crossovers exist and I think that there's invaluable work for example with the University of York you know in research you know bringing these sectors together but I think that it has to be coupled with funder education and also awareness of how we all do kind of crossover and you know often it's when there's an emergency right when emergency support is needed when an emergency grant is needed which is you know often that scene is like well if an artist gets hurt will come and knock on your door or contact you a temporary relocation program or frontline defenders etc and I think that you know broadly the sector isn't aware that you know within the protection sector you know we see many times trends where you know whether artists or journalists or human rights lawyers or communities are at risk you know well before for example a an election happens we may see the the lead up to an election a year or more before and how their you know government or other actors are going after you know systematically the journalists the artists that any critical voices and I think that you know rather than seeing you know the protection sector the emergency assistance sector is like we need a grant for an artist who's at risk which of course you know that's that's the work we all do but also remembering that there's information that we all have you know on here's the rise of legal and judicial harassment and this is how we see this you know cross-border activity or cross-regionally or a global community that's coming on and that those conversations should be shared conversations I would like to I mean that's really quite important so I'm going to cut to Svetlana to see if she can contribute to that as well and hopefully we'll get back to Javier. Yeah hi everybody good to see you I'm very glad and I very much agree with what Cheryl was saying I'm very glad to hear so much conversation about here a sort of a broadening of approach and broadening of how things are seen from like seeing individual artists at risk and an organization on the other side so you consider kind of things in a more holistic way and my organization is a we're a coalition and we're actually a coalition of organizations that are not necessarily doing human rights or free speech they're professional organizations that have an interest in those issues but they're not directly involved in doing freedom of speech let alone artistic freedom so engaging all of these is important the question of course is how you engage them and I think there's a lot of mentioning here of conversation and dialogue which is all good but I'd like to hear more about action and organizing actually what do we do we've been we converse a lot and I've been in this field for a long time there's a lot of great conversations I think kind of getting specific things that we want to accomplish and getting coordinated action would be great the other thing that I sort of want to mention that I haven't heard either in the either in the report or in the conversation is kind of the curator as the intermediary I mean it could be the curator it could be the music organizer these are people first of all you can't pull them out because they're doing their work in the place where they are they cannot work on their own because their work is to present the work of others on the other hand we don't have artistic freedom we don't have access an artist could create in their apartment who cares but if you want the work out there you need the curator you need the music intermediary and these are people that are very much kind of at risk and I mean I work in a country in the United States where you don't go to jail you get fired however you'll lose your livelihood there's a lot of pressure on curators a lot of self censorship on curators and I'd like to add the curator here as a very important cultural actually a key cultural worker in this that and for a curator the approach is very different it's helping curators do what they need to do in a way that's smart that doesn't expose them at risk that doesn't close their institutions and we've been doing a series of workshops and seminars on this which have to do with exchanging expertise and that's the other point I had which is kind of organizing something that is not just like we as organizations help the others over there but we can coordinate a group of people that would peer to peer support each other they would have those conversations because I think what was mentioned was also supportive like mental health you need to talk to your peers not just somebody working at an organization and something like that I think I've been talking to both artists and curators and they're very much willing to do it I mean it's not something that they would do it for free but it needs to be coordinated it needs to be organized it needs labor but that labor of organizing could be leveraged very broadly by organizing people that are already willing to do it so that's and then I have my final point is I it's about the report and there was a point in the report where it called for a statement on I think kind of on artistic freedom with an eye to the current situation and this was under the section offense and I want to sort of concern because it says well we need to distinguish between expression that's simply offensive that's protected and and violence or expression that retraumatizes now the idea of retraumatization is some is kind of a term coming it's a medicalized term that has been used very without its medical definition people claim retraumatization so if there's such a statement I think it should be very very closely considered and this is something that's going on now in the US around a sort of reconsideration of the artistic of the cultural field support for free speech because of the violence of speech and it becomes when you start talking about the violence of pure speech that doesn't have anything to do with actual violence then you're down what they would call a slippery slope and know that you should not be considered but I think it should be considered very carefully so that we don't shift because artists could be all kinds of artists and human rights defender artists could be accused of retraumatizing certain groups Catholics for instance or whatever group you can imagine so that was something that stood out for me and I have some concerns about it Thank you so much I always get my tongue tied when I say your name I wonder if Farida has anything to add to this before we wrap up Hello I'm happy to learn and listen I don't have anything specific but I do agree with Svetlana you need the actions as well as the discussions I think people have pointed that out but I think it's because it's a complicated thing and I take on board your intermediaries as the curators etc apart of that industry that needs to be brought into the conversation who are not visible right now but apart from we had a previous person pointing out that the music industry was not there but I think the private sector as a whole is often missing from these discussions and they need to be there if we're going to concretize things and take them forward so while Svetlana is right we need actions but we also need to see how best to do those actions that we put it that way and I think everyone's contributed some success stories or things that are positive which need to be looked at to take forward Thank you so much Javier do you still want to add one or two words before we move to the next section Thank you just to connect to the specific actions that we can do well as protective vendors in terms of relocation we have had especially recently many positive stories of success supporting the return it's an essential aspect of the relocation by promoting for example the activities for the generation of income this is crucial and we are about to launch a program as well to promote the creation of shelters at the regional level so basically initiatives that will be defined by the local specific context again connected with the report but well many other aspects came to my mind in relation to the reports of maybe we need another occasion Thank you very much that's why we have the safe haven conference where we bring everybody together to from the different arms of human rights and artist rights and cultural rights to discuss and to work together and so we thank you so much right now we'll be moving to a kind of short musical interlude and break and I would hand over to Jan Thank you Jude so very interesting conversation I would say and thank you to Matthew calling upon the industry and it's so important and in safe news we look upon ourselves as a kind of intermediate organizer between the industry being an artist's initiative and working with the artists to give them the possibility to be artists and while in conflict areas or in difficult situations and Maikoi is a very good example many of you know her now we introduced her to the safe haven conference in Malmö in 2017 and she's been traveling around in and out of Vietnam and she's also been part of the volunteer residency program and right now she's an artist protection fellow what you will be here now is a project that actually should have been premiered in May this year but due to Covid we had to stop it and although not stop it but she's been working together with an Norwegian artist composer, cellist Ophelia Ostremossum stage performance a show based on Maikoi's life so please here is Maikoi and Ophelia just be patient I wrote this song after I have met with the former US president in 2016 he came to Vietnam at one hour meeting with him in a meeting he said to me just be patient after the meeting four police already in front of my house to prepare a trap to arrest me they brought me to the police station to investigate meanwhile President Obama went to eat bun cha noodles with Anthony Bowden lifted the arm and bagels on Vietnam without any human rights conditions I was so disappointed thank you Maikoi thank you all the people who work with her and we now have a break for just a few minutes we're back at 1540 hi Marianne I'm good how are you what beautiful music that was wonderful I just wanted to make sure that you'd seen the message that I will have to leave after the first session in fact you too look at each other greetings how nice to see you my mic is music hi good to see you how are you doing very busy I see very busy as are you I know I hope that you and family are well despite everything we have been lucky so far but things are getting bad now so let's see we'll all manage I hope are you doing good you know as you know trying to keep up with everything as you know better than anybody and always wishing we could do more are you still teaching online I find this very disturbing actually I did a couple of lectures you can't see anyone you have no idea what people are thinking or responding I am you know I am teaching online and you have those days where they just stare at you on the screen or anything that you know you might do in the classroom that would be a little embarrassing like sneeze becomes really embarrassing in front of a screen but you know I also remind myself that half the students in the world can't continue their education or have to go to school and expose themselves so I figure we'll we just deal with it by the way I've just got a little message that saying we're live so who's ever tuning into us on any of the four or five platforms morning everybody good afternoon good evening we just to say I mean we do have a break now for a few more minutes but the morning was just so rich I was trying to take notes and of course it is being recorded but my god this would be a first tome of a series of books don't you think Farida oh you got to put your mic on yeah so no I thought it was really great and I thought it so happened although luckily we had that little few moments to check in with everyone I think the order in the cross fertilization as it's called went well and so there was I think it was great I think some very important aspects have come up that need to be I don't know somehow taken forward and I understand but Lana's concern about action not just narrative but I think the narrative is important those discussions we heard that you provided a safe space so sometimes special you have to find where those conversations can take place between the diverse actors but of course the business industry are always missing unfortunately and maybe needs to see more proactively how to get them involved somehow yeah I mean safe havens we're trying not to blow our own trumpet because we like to be a neutral meeting space but we certainly this is our aim is to bring many of the different people together but of course we can't do it in the way that a special rapporteur at the UN could do so at least my meetings the business sector was not so interested we got very few people who are from the business private sector coming in so it's often not the case so I'm going to see let's see how many people have their cameras on a few people have come back maybe people yes I might have to go of course hi Karima how are you lovely to see you that was fantastic it was a real pleasure a real honor to be amongst you all and I look forward to listening to the second panel but I have a very long day tomorrow and it's quarter to two in the morning so that's some sleep all the best thank you now and for a great report bye bye thank you so we are starting again I'm getting little messages from people who are here because of course we're live and we can't see who is watching us because they're watching us on several different platforms so we can only see the people who are in this zoom which is kind of funny it's a bit like the you online professors are talking about giving a lecture to students to whom you can't see because they only have their names on so anyway welcome back to the second part of the safe havens second part of this year's conference I'd like to once again very quickly talk about the people who just joined just to talk about what's going to happen we have had the first and the former UN Special Rapporteur in the field of cultural rights speaking with a panel of six key resource givers and policy makers followed by a short commentary by some discussants five organizations who are also committed to working in the field of protecting and defending artistic expression so this afternoon we start with the current UN Special Rapporteur who comes like many of the people here I have to say from two countries US and Algeria we're going to start to introduce how many countries everyone is coming from but we decided not to she is a law professor at the University of California Davis School of Law in addition to her duties UN Special Rapporteur at the moment and her panel will talk about the artistic freedom sector becoming more collegiate working more effectively and collaboratively sharing information effectively and undertaking cooperative joint initiatives that benefits all partners and prioritize those who may be marginalized and that's really interesting because it comes from a first session this morning that concept so very quickly I will just announce the people who will be on your panel Martha Tudon I don't know if you are here I can't see everybody you are good I think it's very early for you yes so thank you for joining us early in the morning from the Norwegian Ministry of Foreign Affairs who is the Deputy Director of the Ministry of Foreign Affairs from the Artist Risk Connection Arc based in Panamerica, Julie Trebo who is the Director Sri Rek Plipak from Freemius in Denmark Freemius who has been spoken about this morning already Helge Lund the Director of ICORN the International Cities of Refuge Network again who many of us know and from Culture Action Europe in Brussels the Secretary General of the Network of Culture Action Europe Tara Badia so I'm going to hand over to Karima to moderate the session thank you so much Marianne and good morning good afternoon good evening it's wonderful to be with all of you in this digital cultural space and to be with my distinguished predecessor who built such a wonderful foundation on which I have been continuing the work since 2015 I really want to thank the organizers Safe Havens the Museum of Movements and Safe Muse for convening us and I really want to thank them also for helping us keep the work going and keeping the work going together and I salute all of you for that because in these times simply keeping the work going to practice and to defend cultural rights and artistic freedom is difficult so really I want to begin by congratulating you and I can say from my perspective as current Special Rapporteur in the field of cultural rights the challenges are of the current moment rather considerable due to the pandemic I'm unable to carry out country missions there are significant numbers of urgent cases coming in it seems more and more but limited resources to respond to them and those to be allocated to the mandate often remain inaccessible within the UN system and so in the face of all of this partnerships which is what we're going to talk about in this session have been utterly essential and I really want to thank all the government and civil society partners including many who are here today who have either supported the mandate or collaborated on cases and issues without whom the work would have been utterly impossible and let me say when I look back in these last five years we have had successes we have had them because we have worked together in a concerted way so I'm thrilled at the choice of topic in this forum let me say a few words and I know you've been talking about this already all day about the contemporary context of our important methodological discussion on collaboration as many of you know I am currently working on my next report for the UN Human Rights Council which will be about COVID-19 and cultural rights and though we must not forget other important ongoing issues as the safe havens report notes this is truly an unavoidable topic in this moment because COVID-19 represents as the international labor organization has said nothing less than the worst global crisis since the Second World War and we have to have to be able to continue this work a 21st century holistic human rights approach which mainstreams cultural rights and can better guide our global responses to the pandemic so that's why I chose this topic for the next report and I'm as many of you know going to look both at the negative messages in terms of how grave the impacts have been on culture and cultural rights and artists but also the positive side as it were the importance of arts and culture and cultural rights to an effective response my slogan on this being culture is the heart of our response to COVID-19 and I was very impressed by the words of David so solely the president of the European Parliament on November 19 that an event when he said that art has cathartic power that can accompany post pandemic society on the road to resilience art is not an accessory but of course words such as those or my words are easy to say they have to be backed up with deeds and policy and funding and that's what I try to push for with the report with your support the enjoyment of every single right covered by the cultural rights mandate and certainly all of those that we work on together has been gravely affected by the pandemic and some of the responses to it and so I think when we contemplate collaboration and cooperation we have to think about what those mean and how essential they are in this particular moment it has become as so many of the issues that we are facing and I know so well even more difficult to organize efforts to assist at risk artists including through relocation due to pandemic related measures such as travel restrictions and I can tell you my concerns now about imprisoned cultural rights defenders and artists are heightened with every such imprisonment possibly becoming a de facto death sentence due to the increased risk of contracting COVID-19 in prison but I think it's just that a cultural rights approach to all of these issues remains absolutely necessary focusing on the cultural rights commitments under international law of states to actually guarantee artistic freedom and the right of everyone to take part in cultural life which are not things that can be set aside in the pandemic they remain essential in the pandemic and I think really sort of defending that as a component of any efforts to build back better that slogan we keep hearing so then I come back to the question for us today how can we more effectively do the work in this challenging environment so as to carry forward these messages and the other messages you've been discussing today I think our collegiality our cooperation our collaboration has never been so important and I hope we will use our time here today to think how we might strengthen and strengthen the current context and to reflect on the recommendations to that end made in the short report of safe havens 2020 global stream the report which has been made available to all of us as that report notes in 2018 I called for one example of this cooperation which was the creation of a civil society coalition for cultural rights at the UN modeled after similar coalitions that exist around for example revolution or belief. This is a structure that could more systematically aid me and future special operators in pushing for implementation of cultural rights including artistic freedom in these trying times. It could work to develop implementation tool kids and materials it could lobby states in support of the work it could push to hold states accountable in the UN system for violations and help train artists and activists in and through the human rights system in particular. And I recognize, I wanna say this immediately, that not everyone may want to or have capacity to work in UN spaces. And I realize that there are many other spheres in which our shared and cooperative work is essential. But I would remind us all that much harm can be done to cultural rights and artists at the UN if we are not there in numbers working together to defend these rights in a coordinated fashion. And let's be clear, the opponents of artistic freedom work together very strategically in the UN. We need to be there to counter them and to really offer alternative voices and to help bring the local voices that are so included and represented in the work that you all are doing to the international stage. So to conclude, let me say quickly that I think very much today in this space as we contemplate all of this about the artists we've lost to COVID-19 in all regions of the world, such as Cameroonian Afro Jazz legend Manu Dibango or the Mexican film actress Cecilia Romo, just to name a few. And I think it's really essential that the international community and all of us work together to honor their memories by memorializing their work, by supporting those who continue the artistic work and by promoting a nourishing cultural life for everyone. And I hope, and I say this to myself, we will all be spurred on by their legacy even when we may sometimes be tired and frustrated to continue our work together with enhanced strategic thinking, heightened collaboration and strengthened networks. And now what I'd like to do is to ask each of the speakers in turn to speak for about seven minutes and to reflect briefly on the themes of our round table and in particular to tell us if there is one recommendation in this section of the Safe Havens Report that particularly stands out for them as important as we move into the future or alternatively to make a recommendation of their own about collaboration and cooperation. And we'll simply go in according to the list on the program and to save time, I won't intervene in between unless we get lost or lose our way along the way. So let me turn over first to Martha from Article 19. Thank you very much. Thank you. Sorry, good morning. I'm so happy to be here. It's really great that we have the opportunity to come here. Also, I want to mention that I'm from Article 19, the Mexico and Central America office. I think this is very important because I speak from our perspective, from the Inter-American perspective and from what we have seen at our regional and local level, which is very different of Article 19 Global that it's based on London and they have a different context. Also, I want to say that in Article 19 Mexico, if we have certain work that I'm gonna share with you about the environment that allows freedom of expression which includes the artistic expression, but we don't have direct work with artists. We mostly work with journalists. And our perspective, the ideas that I'm gonna share with you and my reaction is gonna come with that place. I recognize that artist expression. It's really like a unique niche that has its own priorities and preoccupations. So I'm sorry if I cannot really reflect that, but I thought it was important for me to clarify that. I'm gonna share this from our experience of freedom of expression in Mexico, which is really harassed and Inter-American society. So I hope that's okay. And I wanna react to three recommendations that the report makes. First of all, the useful toolkits and informative guides. We have developed a lot of digital rights organizations have worked on content removal guidelines that are mostly directed towards journalists, but these are not only exhaustive for them. They can be applied and they can be useful for a lot of people that are creating contents online and that have been with the copyright infringements that are protection data, et cetera. They are finding that their contents are being removed. We find these, for example, we have documented certain cases in Mexico about artists who have been working on trying to fight the hegemonic patriarchy in the country. And for example, are exposing vulvas that women are sending to them and they're creating these collaborative collages and they try to modify the idea of the woman's body and it's from an artistic perspective. And they're finding that their content is being removed with the same kind of arguments, which the journalists find their contents removed. So we are finding that there's an opportunity here to share this work that it's already done and that a lot of organizations in the global South are working on because they're being applied to us because we have, at least in the inter-American region, we're finding that the regimes are fighting towards this kind of contrast to the hegemonic power which includes maybe feminist expressions right now in the example I'm giving. I also wanted to react to the recommendation on collaboration should we do balance and we have to monitor abuses. As I said, in Article 19, we work mostly with journalists, but we indeed have cases of activists that are creators, which are artists. We can find that case in Cuba in like last week in which a lot of artists were demonstrating against the regime with songs, et cetera. And we documented that case. We documented it not on the part of the artistic expression per se, but against the right to protest, the right of freedom of expression. So I think there's a lot of data right now that organizations like Article 19 are collecting, but we don't share it. Like there should be an effort there for us to be more. And yeah, to have an understanding with other organizations and also for Article 19 in a self-critique to visualize the cultural rights and also fight against oppression to the cultural rights, not only to the purpose rights. So I think it's really important. And I'm gonna speak this with my colleagues, but I wanted to share that with you. And also, apart from this, sorry, I'm just checking my timing, I have two minutes. I wanna talk about work that we also do that I don't see, well, I haven't had the opportunity to be with other organizations that work towards cultural rights. This is regarding the digital platforms. There are a lot of regimes, governments that want to blame or maybe a responsible lies in terms of internet, Facebook, Google, YouTube. And they are trying to enforce censorship. And this is like a private censorship but also a censorship that comes from the States. We are also seeing algorithms, content, advisors, et cetera. So it's a work that we're already doing, particularly the organizations that work on digital rights. And in these phases, we don't often see invitations or the presence of organizations, of artists, et cetera. So I think there's also an opportunity there to, because we're fighting and we're trying to say freedom of expression of everyone, but we don't say it from a cultural perspective, from a direct to cultural perspective. So I think it's really important to have that point of view in that conversations. And also in my last minute, I'm gonna talk about the things we're doing right now that I think it's really important to also have the perspective on the cultural, right? It's the ecosystem that allows to culture and artistic expression to take effect regarding the digital divide. Right now, the pandemic has really shared light on how internet it's really, I have 30 seconds. Internet, it's like right now, it's the way you can access to everything, including artistic expression. And right now we have in mostly, mostly in the global South, we have a digital divide, which also has a gender divide, which also has a generational divide. So how can we take everyone aboard into trying to express themselves and have access to this information that it's already there? But it's not really there for everyone, because not everyone has connection and not everyone can pay for it. And lastly, I wanna also talk about improving the legal ecosystem that allows freedom of expression, including artistic expression to take place. We're seeing a lot of, because again, in the documentation of aggressions, we have a journalist, we are seeing that the same legal infrastructure is being used against artists to try to silence them and censor them. So yeah, that's my time. And thank you. And the floor is for Claire Annette, Uber. Thank you so much. Thank you, everyone. And it's really a pleasure to be here. It is quite new for me to come into this arena of cultural rights and artists. I've been working with human rights for most of my adult life. So this is a very important experience for me. I must say the first session or the first round tables was very, very intense and focused. And I made a lot of notes. So it was a pleasure to be here from the start. It's also very good to be able to meet digitally, Farida Shahid and Karima Benoun. My colleagues working with cultural rights in the ministry have spoken. So warmly of the work that you've been doing for many years, both of you. So thank you very much. I was in the human rights council negotiating the resolution on cultural rights in the past, which was a Cuban initiative. So that was my first encounter. But very happy to see how concrete you've been working in also bringing these different, how should I say, ecosystems together. I work now in the section for human rights, democracy and gender equality. And we have actually now, the last year, we have been given the responsibility for the work that was previously done in the cultural section, working on providing financial support, for instance, for cultural rights. So it is, maybe this is the result of the work that you've been doing, that it's actually been seen so relevant for human rights that it's been moved to this part of the ministry. You know maybe that human rights defenders and freedom of expression are key priorities in the region, human rights policy. And that's why I also think that the topic of this webinar goes hand in hand with those priorities. I see many of our partners here in the area of freedom of expression. I was happy to see Freedom House, which we have a cooperation with, with something I believe we call Lifeline. But I was also looking at participants from human rights defenders, other partners that we have like Frontline, ISHR, FIDH, and speaking about bringing different partners together. I think there might be some opportunities to enlarge the group of colleagues and friends. And I was given the opportunity to choose a recommendation. And I have chosen one, and then with the addition of the second one, which really goes to the core of this round table, which is networking and collaboration. And I think I was so happy when I saw this being the topic, because the opposite is competition. And probably you know that. And we know it both within the UN, for instance, and also among civil society organization. It's so easy to compete and to see each other as a threat rather than a partner. And maybe especially in the area of human rights, it is really crucial to cooperate. And I think you said it very, very well, Karima. You know, where we've had success, it's the result of partnerships because it's so complex. The structures, the change, really you have to work both top down, bottom up and with all the different parts of society. So this was really key. And it's so easy to say it. And then it's so much more difficult to actually act upon it. So I really liked that it was being lifted up in this round table. For instance, within the UN, we have for so many years spoken about bringing down the silos. And I must say, for instance, between UNDP and OHR, OHR, OHCHR, OHCHR, I now see cooperation and partnership in a way that I haven't seen before. National Human Rights Institutions. There is a three-part partnership that we support with UNDP, OHCHR and Gunry, the Global Alliance of National Human Rights Institutions. And I think really the value of those partnerships, it cannot almost not be overestimated. So I think the logic by bringing it to this area is also very much something I support. And I think also now, when times are so difficult, we're all in our home offices and we cannot travel and the world is in one way very, very limited. It is that network that can give us energy and that can give us hope and can give results. And I think also being representative of both a partner, but also a donor, I think it's really crucial what you also write about collaboration among partners. I think most of you, at least those that you know as well, we know that our capacity is very limited in terms of actually managing all the different partners that we have in many grants. And it's really come to the point where we have to look very carefully at each and every support agreement. Of course, we would have liked to have very many, but we have to reduce the numbers because we are being reduced in numbers in our ministry. So I would just like to encourage you all to try to see cooperation, local, regional, global, and actually to also invest some capacity in bringing those systems that are to administer the grants to make them so, how should I say, efficient and safe for us so that we can provide funding through them. Because I think that the needs are great and I would say, luckily at least until now, I think for Norway, of course, the budget lines are reduced somewhat due to the COVID-19, but we still have a good amount of support for human rights work and we see culture rights as part of that. So just to underline that point, it was very interesting to listen to what our colleagues from the Swedish colleagues was mentioning. They were redesigning their program in this area. We are renewing our strategy for freedom of expression and media freedom and we will also in that context look into this, how we work with culture rights and artistic freedom. So I think we'll have more opportunities to engage in the future. So I see this as for me at least a start of a dialogue and discussion and I look very much forward to the continuation. Thank you so much. Thank you very much to you and to Martha before you and the floor now is for Julie Trebo. Is Julie on? Just trying to... Sorry, I was muted. My apologize. Even after eight months in this patrol sphere, I'm still not managing that. Good morning from New York, from Brooklyn here. It's a pleasure to be with you today. I just first want to start thanking the Save Even team for having me and for organizing this really, really productive conference and thank you, Karima, for having me in this roundtable and also Farida for your first roundtable this morning. I'd like to start by giving you a bit of a background of the Artisatris Connection Project and go to the recommendation offered by the Special Rapporteur. In 2015, a group of organizations convened in New York to define gaps and services to Artisatris and propose possible solution. So what we realized is like the organization have been working separately and often with limited resources and reach in the field of artistic freedom, echoing what Claire has just said. At the meeting, they identified a need to coordinate the existing services and resources for Artisatris in order to enhance activities and avoid application of work. That is how Pan America received a planning grant from the Melon Foundation to develop this up concept and we launched the Artisatris Connection in early 2017. So what ARC is doing is we are global and regional and local prisons. We have these prisons locally as well, but we are a network and international network of partner organization working to protect artistic freedom around the world and a lot of you are part of this network. We do have a regional representative located in Mexico and India. And as you all know, we serve artists and cultural professionals of all kinds. So our goal is to connect prostituted artists to a global network of resource and enhance coordination and cooperation between this organization and the field of human rights and arts. And we do also amplify the story and work of the artist and freedom of expression and our work with the special repertoire is one of the testimony of that. So making the artistic freedom sector more collegiate, collaborative, cooperative and non-competitive is really at the heart of ARC's mission. Any organization, as you know, operate nationally, regionally and internationally with mandates focused on artistic freedom and protecting artist at risk. However, a lack of clear communication between those organizations often causes assistance work to be duplicated and precludes artists from receiving adequate support. Beyond merely referring cases to our network, we facilitate coordination and information sharing. For example, seeing the need of grassroots collaboration when assisting artists at risk, we save even program like last year in Cape Town. We, with a group of organization, help launch the AMANI, the African Creative Nephens Network. This is a region protection mechanism which is made up of organization working in and or on artistic freedom in Africa. So AMANI, this network, helps members streamline communication, share expertise in size, through resources, monitor threat to artistic freedom and coordinate more effective responses when assisting artists at risk in the continent. Like, you know, effort like AMANI also speak to the special rapporteurs' recommendation for bettering post-relocation scenarios. ARC has found with its partner that when artists relocate within their own country or region, their safety tends to be far more sustainable and they face fewer associated psychological challenges. Platform like AMANI can help keep relocation grassroots organization avoid the draining of artists from, you know, going from the global source to the global north or going from very far away from their audience and family. Similarly, thanks to our previous work with the special rapporteur and other organization on this panel, we have laid out the foundation for a diverse coalition of cultural rights advocates. And I will talk about it in a few seconds. So likewise, ARC is also developing a new practical guide, new practical publication. And one is a guide for artists at risk to help more widely disseminate information about existing support, about the organization, all of you who are providing support to artists. So based on our expertise, but also especially on the expertise of our partners, as well as a survey and an in-depth interview with artists at risk, this guide will offer pragmatic strategies to help artists understand, prepare for, react to and ultimately overcome persecution. We will launch it next month and hope you will all join us to disseminate this new manual. So despite this fruitful initiative and collaboration, the special rapporteurs' recommendation remain incredibly salient for the field of artistic freedom. Convenient-like savings, for instance, are usually important in disseminating information about the field. Before they hope to be various and compatible platform on the regional and local levels, as well as one engaging different discipline, that's our wish and what we would like to push for. Each forum can engage the diverse issue facing artists in varying contexts. And most importantly, we have observed the prescience of the special rapporteurs' first recommendation, which is to strive for more join and sustain a forward at funding for the field. And I think that's really the one I want to, to take on, like earlier this year to give you an example, actually in a number of partners present here today, the National Coalition Against Censorship, article 19 and three news being one of those panels to launch a project named Don't Delete Art, which is an online gallery showcasing art who had been censored by social media platform. Yet this initiative has faced difficulty in bandwidth and cooperation and will benefit immensely from extra funding. In such cases, joint proposal written by and not between participating organization will surely increase the likelihood of success and longevity of collaborative projects. And finally, our Collation of Cultural Rights Advocates, spearheaded at an expert meeting, organized jointly with a special rapporteur last October faces similar challenges. The groundwork has been laid, but organization lack the bandwidth or community gate to meaningful animated. So such a coalition and effort network should come from, sorry, partnership and more collaboratively pursue joint proposals for the funding. So it's my belief that this will be both lead to better funded initiative and further inside college of collaborative, cooperating and non-competitive relationship among those who share the common goal of defending artists and cultural rights activists. Thank you very much. I think I am on time. Thank you very much. Sri Rakh, the floor is yours. Thank you very much. Karima, good morning, good afternoon. Good evening, everyone's pleasure to be here. I thank the organizer of the Safe Havens Conference also for opportunity to engage and exchange our views together. Let me just go straight back to the very point and I will try to make a link with some of what we have already discussed. When we talk about collaboration, I think it would be good, first of all, to frame this as a part of collaboration to realize cultural rights or as a subset of artistic freedom as we speak today so that the collaboration have clear purpose that we collaborate in order to advance particular dimensions of cultural rights or artistic freedom in this case. And I would bring possibly a framework that would help us scan where collaboration needs are, where we have some form of collaboration already and where the gaps might be and that would help inform the recommendation for Karima's report also. But if you look overall of how we advance human rights practices overall, we could say there's generally the four broad functions. The very first is to set standards. We'll say this is the rules, this is the rules of the game and these come into treaties, human rights treaties, other standards. So that's the part of normative framework that we need to strengthen, setting up rules. Secondly, we need to monitor whether governments and other non-state actors actually play by that rules or implement and that's the civil society function of monitoring. And then thirdly, once we know we do report, we document cases, we find out that there's some gaps there. Then we need to advocate and campaign to make sure governments and member states actually comply with the normative, the standard setting that human rights has been setting. And then the fourth function, I think this is where collaboration or the number of players lie the most and that is to assist victims. And this is mainly through safe havens, communities, our friends and colleagues in this field has been supporting and I think that's where a majority of actors in this field lie in the residency program, providing safe place for artists to perform and do the work. But now take a little, take a look a bit closer, especially the first three functional areas and then we could see the implication of what kind of collaboration is actually needed. On the standard setting, the first one, on the normative framework, we've seen limited number of players. I think as Karima mentioned at first, that not every actors have the capacity or focus on UN engagements and that's absolutely fine. I think there's some room also, just the number of players who actually do that. So first of all, I think from Farida's first report in 2013, coming to Karima's latest one on cultural right defenders, I think we have made very good and steady progress in terms of standard setting. And I think there's still some particular point that we can address further and there's a needs to further develop normative. Take Bangladesh for example, the new DSA, Digital Security Act recently, coming back to sentences people for life sentences for saying or expressing things that insult the spirit of the nation, insult the head of armies or this is kind of a vague wording or artists will get five years for hurting religious feelings, whatever the expression. And this show there's some further normative framework strengthening needs to be done around public moral, what can be defined further, what can be how government use in decency, public morals and at times suing artists in the name of protecting or anti-terrorism measures that the Freemills has documented an increase of 7% in recent years of these number of cases of artists being charged. So in decency, public moral, anti-terrorism as well as other going the new propaganda laws against LGBT for opposing family values when a movie show a woman kissing a woman then that's become something wrong. There's an area to really push back as well as articulate further what can constitute violations of public moral, what constitutes a public in decency. Now in the implication when we look at what kind of collaboration is needed, certainly I think UN players, UN reporters would be really important players to work with the whole society and this could be in forms of developing experts meeting to further develop normative whether this could be initially declaration and then moving towards making it more legally binding whether this kind of as a new general comments if you'd like in the future or other normative form. This is where governments, it's great to have you here Claire. This is where government's message will really help UN reputers and civil society that have expertise in this area can help. So that would be one kind of a collaboration that we need to do in terms of strengthening collaborative. Among the UN system, we also see UNESCO 2005 conventions talked about cultural diversities. We see very little programmatic work and thanks to Karima for the report earlier, explore conceptual and the linkages between cultural rights and cultural diversity. I think the need, the gap here is how to operationalize those overlapping and also create that internal communications between UNESCO and Geneva, the Office of High Commissioners. And I think it won't happen automatically. Myself, I speak almost every year on this point UNESCO meeting and I think nothing has happened so far. So I think that's the, this will need fewer number of people driving forward, articulate what are the common issues that we need in terms of normative setting. Moving to the second part on monitoring. Again, this is fewer number of players, females has documented cases over 90 countries, 700 cases have been managed to verify. We still need a lot more support and collaboration in this area, especially in verifying cases of being in form of cases, especially in the global south. And this is where I think if, because there's going to be collaboration, you will have to be also, not only north-north, but north-south. And this is where civil society in the global south need to be strengthened their capacity to monitor, to report, to document and do it in a professional way so that you use human rights research, bringing some methodology rather than using the general common sense. So collaboration with the global south with an aim of strengthening capacity to monitor, document violations and compliance this overall. And this also including monitoring latest development of laws and policies that will affect artistic freedom communities overall. And so that will be some of the implication, I think collaboration in this area. We've seen some already. There's last room for collaboration. The third area on once we set the standards, we monitor compliance against standards, then we engage in terms of advocacy and campaigns. And this is where there's huge room for working together. Freemuse is going to launch a report on LGBTI and artistic freedom in Krakow next week with the mayor of Krakow. So we are very excited to bring artists together. And this is the first time we launch, not only report, but also the LGBT artist network for artistic freedom. So artists from Brazil where they face serious repercussion and different parts of the world will come together and we'll send the message that we need to fight back. The bad news is in the last 10 years, there has been 14 new countries that come up with propaganda laws against LGBTI expressions and that give a rate of every year there will be 1.4 new countries imposing illegitimate restrictions on LGBTI expressions. This is huge room for us to actually advocate and campaigns together. Not only on this front, I think a number of other aspects that we can actually do also refer back to the point of the need for us to engage with civil society in the global south. It just very badly needed. If you scan at the regional body, we have the African regional network, but not so in the Middle East and Asia. There's already movement in collaboration happening in Latin America. So from outside, females will try to pull this together by developing the global action network for artistic freedom to bring different people, different actors together. We also found that cases, for example, Galal that we all most of us know, a poet from Egypt who's been sent for imprisonment. There are at least four or five NGOs working on the same case. What we have initiated is also to say when we work on the same case, let's collaborate. There might be some case where females contact lawyers or artists, other organization contact different people. So I think that's where we try to create a common platforms. So females is offered now to develop, to sign MOU with like-minded organizations. So that we can actually coordinate our campaign. When we have a bit more information, we're happy to take the lead. When other organizations have more information or have closer contact, they can also take the lead. So we can avoid duplicating the work. So everyone is invited also to discuss further beyond. So to sum this up, this is really coming down to passing some recommendation to Karima. We certainly see that support donors as well as civil society, we need to looking at supporting and collaborate in all functions of advanced human rights and not only provides support to helping victims, which normally come to the Safe Heavens package. The work around standard setting, strengthening normative framework is just so important. Monitoring as well as doing joint advocacy will be the other parts. And my last one probably highlight the importance of bringing our friends and colleagues from the global south onwards. They do not enjoy the resources that we, even though smaller NGO's mostly in the global north here, in the global south they face even more difficulties. So I think that would be what I would recommend to take forward too. Thank you very much. And Helga, you have the floor. Thank you very much, Karima. Thank you very much, the Safe Heaven team. Icon is working to let the voices of persecuted writers, authors and journalists be heard. And we are mobilizing cities to do this work for us together with us. And I'm very glad you mentioned Shurak about the city of Krakow when you were launching the report there. That's I think it's quite a very important event. And what we see, for instance, I just mentioned in that with regard to the way Icon work is that cities are stepping up as actors for human rights and freedom of expression, particularly in Poland. Like we have Krakow, but also Wroclaw, Gdansk and Katowice and soon Warsaw and other cities will join. A really significant force that is working against the more repressive policies by the government and other parts of the society in Poland, just as an example. That I think is definitely worth mentioning. Just also a little glimmer of sunshine and hope in this very challenging corona times is that we have managed, and I don't say the organization Icon, but all our partners, all the cities and all the actors out there have managed to place almost as many persecuted writers and artists this year as we have been doing the other years, even though the borders have been closing and so on, all the actors, the cities, the governments and in many countries in Europe and beyond, they are able to see what's really important also in such challenging times to open a border so that the rights and artists that are persecuted and other threats in other countries can come into and start their residences in cities of asylum within our network. And this is only, of course, possible to do throughout when because of the cities and because of all the very good partners that we are having here. That brings me to the congratulations to the Safe Heavens movement because we have obviously been able to be there since 2013 when everything started in Malmö, in Sweden or Switzerland or wherever we are. But that has been very significant a row of conferences and we see that and also when we see the diversity of the speakers here and all the fields that we are covering together and the possibilities that we are having here to deepen the cooperation between us I think it's very, very significant. But there's one point that I wanna make in regard to what we discussed in November at the Safe Heaven and also the report and the recommendations from there because I think you, Marianne, you said in the beginning today that Safe Heavens started as a safe haven as a more strict movement of different initiatives that provided Safe Heavens for persecuted artists. But no, it's a lot more. And of course, obviously it has gone to a lot more and it's also have a huge significance in many other fields and in the global picture. But I think this is, then also the challenge follows to start being more conscious and more specific about, yes, we used to be a safe haven movement. Now we are a lot more, but what are we? What, who do we wanna be? What, how will we define ourselves? How will we define our goal or mission and a vision in this movement? I don't say that, I mean, the very huge quality is the inclusion and the diversity but how do we come towards a more also precise definition about how, and who we are and where we are going for others? I think that is also very important and also within that, I think that, I mean, the huge strength is that we are so many, we are as many different actors and we are working also, we are getting inspired by another working very closely together. And this platforms that safe haven is has meant a lot to icon and at the same time, I think that the other platform that this for icon has made a huge difference is the one that is having provided by protect offenders by the EU program of protection for human rights offenders, the platform for temporary relocations initiative have been immense successful in our regard, even though they didn't, they stepped out that they came into life for quite a few years ago with a lot of big goals that were not achievable but only the fact that they brought all of us together to get to know each other, all the actors in the field together and so that we could speak to get to know each other and then cooperate about very difficult challenges together. That was very, very important. But I think it is also when we meet on platforms and like the safe haven one know and hopefully also in the future, I think it's very important to be clear not only the platform as such but also we that who participate there that we are clear about who we are, what is our mandate as an organization, what is our mission, what is our vision. Is for instance, is it our mandate or vision or mandate and our mission to help artists directly or is it for our organization and the mission to help organizations that help artists? I mean, all of us want to do the best but I think it's also a time now when we see this movement grow to be very specific and I speak also of course to ourselves but to be conscious about who we are, what is our mission, what is our vision but declare each organization defines ourselves towards ourselves and towards others the easier it is to cooperate and to find all the good synergies in ad platforms like this. So this is the message I'm bringing forward today. I'm once again, lots of congratulations to Safe Haven movement and we are very much wanting to take part in the future as well. Thank you very much, Teira. Yes, so thank you Teira and thank you for having me in Culture Action Europe here and very, very happy to be here participating in the panel. And what I want to bring here today is like two things. First, the reflection on how we understand the principles of collective initiatives and then a proposal regarding the recommendation on the tools we need to undertake to undertake a cooperative projects in the complex field of freedom of artistic expression. Tools that as already mentioned should benefit all actors involved and should prioritize those who may be marginalized at some point in the process for diverse reasons. First and foremost, I would start to touch ground a bit with the four adjectives that the title of this round table proposal is Collegiate, Collaborative, Cooperative and Non-Competitive because they look like synonyms but they have a very, very specific meaning. Collision is an adjective that describes an environment where responsibility and authority is also shared equally by colleagues. This is one point. Collaborative describes an effort in which people work together. Cooperative involves a mutual assistance and non-competitive means not having the desire to be more central than others. And I think these are different meanings. But what do they have in common? So I think that what they have in common is the idea of the peer condition. The peer condition that is crucial for how Justine has Salet proposes as a partnership which is a relation that has no center, works in multiple directions and it's based on equality rather than power. And I think we need to have in mind this peer conditions if we do not want to incur in a rather symbolic effort when talking about a Collegiate, Collaborative and Cooperative and non-competitive initiatives. And from my personal point of view, the success of such initiatives has to do with diverse issues. And amongst them, the first one is the issue of legitimacy of who is truly recognized as a part of the dialogue. And the second is the way how we built this participation. And here I mean what is the real capacity, the agency of the participants to shape the framework, the contents, the tools and the policies. And this has been discussed through later during the first panel, but yeah, it's starting collaborative process affected by the action of other subjectivities sensitivities and backgrounds. And of course, this diversity will shape the process of dialogue and the common goals. But to secure this peer condition, this real partnership, I think we need this openness first, but also already mentioned many times in the panel before and also in the report, it is absolutely paramount the creation of a common language, which can be able and allows us to translate diverse positions to create common contexts and to facilitate this mutual understanding. And that is why culture in Europe think things that it's very important to work on useful talk, it's an informative guides created by different sectors regarding at risk professionals. And they need to be shared, accessible and available in a way that everyone involved can contribute and understand and use them as formulated in the second recommendation in the Safe Haven short report. In our opinion, one efficient inclusive way forward at this stage is to bring all these sectors together, arts, activists, human rights defenders, legal experts, jurists and decision makers. The main obstacle for this course of action is that we all have different approaches, speak different languages and have different appreciations of the issues at stake. Concretely, I'm going to talk concretely on the legal provisions. They seem to become a more common reference in policies and decisions, but this reference, artists perceive this reference as a limitation of their creativity, critical thinking and the freedom of expression. And for a structured dialogue based on common values and common understanding, it is crucial that we have a common comprehension of the legal framework. We don't have a common language to start a discussion, understand different but still similar cases, for example, of violation of freedom of artistic expression and we don't have a common guidelines either. Our proposal here is to, for facilitating the way is to create a handbook with guidelines for a structure in this dialogue. A handbook that is based on the available case law and in common law principles such the UN conventions or in the case of the European Union, the European Convention of Human Rights. Construction Europe is working towards the creation of such a handbook at your level, straight up knows perfectly what I'm talking about. And as Sria was saying, a lot has been done in the normative standard setting. But we are imagining a practical handbook outlined in a very accessible language, the available protection for artistic expression as well as the lawfulness of possible limitations of artistic freedom. And such a handbook has several added values, we think, such as, for example, for the world of art to facilitate access to rights and access to justice, for the world of law to strengthen the understanding of artistic practice that sometimes it's not easy. For the world of policy to raise awareness of the legality of the decision made and the consequences for artists and audiences. And for the EU, the European Union, to strengthen the possibility to design a uniform monitoring across the EU with the comparability needed for that. Right now, we are now further exploring the field and identifying partners from these different worlds to work together in this overarching and ambitious project. However, we have already started to work on it with Preliminary Study, which is conducted by Yama Malcubaydi and Marcin Gorski. And basically this is a study on the protection of freedom of artistic expression and the obligations available. The main approach of this study will be to prove that artistic freedom is protected by European law and community law and to draw possible paths to follow. It aims to lay the foundations for defining monitoring mechanisms, comparative evaluation and the possible need for more explicit legislation. It is about outlining the existing obligation for the EU under the 2005 UNESCO Convention, arguing that it is a community law since the EU is a party to the convention. As the EU is a party to the convention, the convention already had an effect on how the Court of Justice of the European Union interprets the EU law and in light of the convention. And although this type of study is probably, for most of you, could outwardly be redundant for the very, very specialized people, it has a think and novel component because it adds the value of gathering and constructing all that specialized knowledge in just 20-page documents that approaches a difficult topic in a very accessible and pedagogical way because we also need pedagogy in its integration of this language. The main outcomes of this preliminary study that will be ready at the end of January, 2021 should answer following questions like, what does artistic freedom stand in the European project today? How free is artistic freedom and where are the limits of artistic creativity, if any? Or could the legal ecosystem, the EU law and the European Convention of Human Rights provide us with guidance? Can such guidance instigate a structural European dialogue in the matter? How could such guidelines and handbooks look like and who could provide them? And at the very end, how can the world of arts and culture and the world of policy and decision makers as well as the world of law meet? So this preliminary study will give us a ground floor for a basement for a white handbook for the white handbook that we hope to develop with all of you. And yeah, I'm finishing here. I would love to leave you the link of a paper published at Caldraxion Europe website that constitutes, contextualizing in a more detailed form this proposal, this handbook proposal. But simply if you look, if you Google if you're looking in your search machines simply Caldraxion Europe handbook and freedom of artistic expression that will land directly to this document. And so we're only very happy, very happy for proceeding to your thoughts and your reactions on this paper because yeah, it could be a good tool or think that it's a good tool for bringing all these different worlds together. Thank you. Thank you very much to you and to all of the speakers for respecting the time and also for such interesting and important and pertinent and specific interventions. Just to draw together a few common themes quickly with the remaining time that we have. I think there was a real emphasis on structures, frameworks the need to have clarity about purpose, who we are what we're trying to do, common goals, common language thinking carefully about methodology but also thinking inclusively including all regions including different sectors including cooperation at the regional, local and global levels moving away from competition to a real peer condition, a real partnership and I really heard all this coming out of all of the presentations and I think the challenge is then to figure out in the short term how we begin to operationalize some of this should we for example be having ad hoc monthly meetings on the internet recognizing that that is going to also leave some people out but where we could discuss perhaps one month cases the next month themes and so on or some other more inclusive form of operationalizing this in the context that we're facing now should we have trainings like the International Service for Human Rights does where NGOs that are used to working at the UN could partner with those perhaps from other regions who don't have that experience or many other ideas that one could contemplate. One question I wanted to put on the floor and see if anybody wanted to address or a few people very briefly is what the obstacles to this collaboration and cooperation and collegiality might be and how we might address some of those would anyone from the panel like to say a few words quickly about this we have two minutes left and if not I can put that on the floor as something perhaps we need to think about going forward because as someone said there are often words but it's more complicated to operationalize those words and certainly that means addressing the obstacles. Would anyone like to say a few words about that Julie? Yeah, I mean just like in one word I think it's funding is the lack of capacity and especially in the global south organization we are working with I really have a very difficult time to carve a capacity for this type of meeting and gathering because they are overwhelmed with their own programs and they all are providing direct support to artists where they have so many applicants and so many kind of a burning situation in different countries where they operate. So I feel that it's really the funding and the capacity that is lacking and one of the solution will be to bring actually and capacity in those organizations and do capacity building. That's really what I think strongly believe that how it can work to really have those types of meeting and coordination available and fruitful and productive. Thank you. Would anyone else like to address that briefly? We have one minute. Anyone else from the panel? Yes. Sriwak, please. Yeah, thank you. I think part of this is the size of our, most of our organizations. I think the actors are relatively small. Most of us are under five staff or under 10. So the whole artistic freedom actors are relatively small. We don't have amnesty with 1,000 staff or Oxfam with 3,000. And everyone put their heads down as you know, doing their work. Then you get to see collaboration like let's organize this event together. La, la, la. And then you get on with very practical. I think there's limited space also for us to look at how can we collaborate strategically. What is really needed, where the gaps are. We don't have quite much space to discuss something like this. But having said that, I think there's some really, really good practice. I think Terry, Culture Action Europe, and Freemills on the coalition, on the European Coalition for Autistic Freedom that we managed to get some resolution done. So just some of these that happen. I think it's a bit of the opportunity to engage and really have conversation like this. I think that's very rare also. So I think it's just good for all of us to really lift the game also, to really ask the question of what is really needed. I think that part. The other point is probably the competition itself. And I think we have to be honest with each other also because mostly the players are small and they're all going after the same pots of money from donors and so on. So the competition will always be there. So I think we perhaps have to accept that as a reality also. But that doesn't stop us even though there's competition amongst civil society just like companies. There's also that doesn't stop us from working collaboratively and there's so many good practices already. So I think it's just good to put this also. Small actors competition will be that but also we can expand space for collaboration when it's really help advance strategy for each of the organization then we should really step into that space. Thank you very much. Marianne, were there any questions that came to us from the audience that we should address quickly? I know we're two minutes over time so otherwise we can wrap up. I haven't. What's happening to each other at the moment? And no, I understand that there aren't any questions that have come. Well, let me say thank you so much to all of you and how much I hope we can work on the basis of this very fruitful discussion today and really operationalize as much of it as possible. I think something that was mentioned, communication is critically important, perhaps even thinking about some sort of a list serve so that we're regularly sharing messages between us. But thank you so much to all of the organizers and to all of the participants and I will have to sign off shortly so won't be able to follow up. So I really do wanna say goodbye and be well now and how much I look forward to continuing to collaborate and cooperate in a collegial way with all of you. Thank you very much and enjoy the break. Thank you. Thank you, Karima, before you go away and start doing other work, which I know you're going to do. Thank you for all the participants in the panel and thank you for your stellar leadership of it and the words that we were all inspired by. Thank you. Before I turn over to Yan to also to introduce another musical interlude just to remind people that together with the music and a small break, we will be back at five minutes past five, central European time. And then we will have the discussion and the closing words. So please don't go away. Keep your camera off but keep yourself on. Thank you again. So now it's time for a bit of a real thing again and to the icon of Belarusian rock music, Lavon Volsky. He was actually invited for Safe Havens in Malmö in 2017. We didn't manage at that point, but no, 18 I think. But he's on now and he has the ability to do these catchy rockers and with lyrics that puts the finger right in the eye of the ones who don't like to have the finger right there. So enjoy Lavon Volsky and his band and also just a small report on the situation in Belarus. Tanya Usym, very nice to meet you in this initiative of TV-Framews, to show a couple of songs. One of them will be a song by Verme Straya, it's 22 years old, it's called The Air Force. The other will be the youngest song of this moment. It's called, it's terribly called, The War and the People. And we'll show you all of it with our band, Kurt Volsky. If you want to know more about the situation in Belarus, you have to know everything. If you don't, I can say that in the year 26, in the year 26, there was an authoritarianism, like I said, a stable authoritarianism. Some people liked it a lot now, because it was calm, they paid little, but stable. But there is a red line, which is often talked about in our government, which is that I'm naked and passed away, and something broke, and people don't like it anymore. And in the sense that the good will be at the level of good, but in the sense that freedom will be at the level of bad. Now there are a lot of absurd ideas that begin. For example, in the evening, the curtains are closed, or to distinguish the students who are called to the strike. In the culture, they are distinguished in the same university by about 25 people, in other situations the same. It's weird that they are engaged in exhibitions, some of the directors who earlier recommended themselves as such normal people, now they have already talked about their opinions. Well, in short, it happens on the streets of such unremarkable power structures. You can read about this on the Internet, you can talk to those who are more dedicated, this information is all over the place. So, Kolya Laska, and we, as music, we supervise our people, we help the people of this time, I hope. We write songs for them, we give them hope, we have been doing this for 26 years, now we just have to do it more mechanically, more actively. Well, we are this kind of people. The first songs are written in the air in 1997, it seems, in the year, 23 years old, not in 1997, but in 2008. The song, well, the meaning of the song, what is the text? There are such words, there are such short ones, which are now not relevant, there is such a look at the dirty city, then the city was dirty, but you see, for the dictatorship, of course, everything is clean in the film, and that's how many years have passed, and the city is now clean, well, at the same time, the center is clean, I'm not talking about the yards, but, nevertheless, there are such unremarkable people and therefore we have such a brand, which is the most cleanest place in the world, in the world. Therefore, now I'm telling the truth about this song, I'm Levan Wolski, Belarusian music, I'm glad that Safe Music asked us to do two things about this world enterprise. Thank you. Thank you. The song will be the latest, this year it will be written, together with the producer of my Norwegian snorkel, Bergerudan, it is called the voice of the people, she asks questions about what is happening in our streets and in our country now. Is everybody back? I wonder. I have to leave earlier than other people because I need to eat something and it's getting late. I stay as long as I can. Yeah, you said you're a night owl and it must be very late there now. Not so late, but I also have an early morning with lots of deadlines. Right, okay. As long as I can stay, I'll stay away. Oh, that's great. Behind the scenes with our little whatsapp internal group is kind of crying to each other saying, how on earth are we going to write a report about this day? It's just been so incredibly rich. But I suspect music, whoever's put together the music and the clips, they're wonderful. It's really great. Thank you. And Safe Moves. I think we should start now and Karima has had to leave but I still see that there are almost everybody who started with us. I think only three people have left. We don't know who's on the platforms will get reports from all those platforms later to see how many people turned into the webinar. However, I'd like to once again establish the rules of the game. We only have a half an hour. The people who are discussing have four minutes each. We've got six in this session. So short comments either about what the panelists said or about something that particularly resonated with you in the report. So once again, I'm sorry we don't have time for long introductions of your organization. But let me just hand over right now to Matthew Kovey, who's the director of Temizdat in the U.S. and also a law firm. And they are and he has been specializing for many years in law in the U.S. that's linked to immigration. He's a musician himself. He started out by helping musicians who wanted to tour and that was the beginning of a very long adventure for him. Second from the artist protection fund in the U.S. also Alison Rousseau who's leading a fund which also helps to relocate artists. Also speaking from I'm not sure whether you're on the west coast or the east coast Ashley Tucker who's director of programs for the artistic freedom fund in the U.S. which also is working with lawyers and with relocation among many other things. Marita Mukkonen director and co-director of Perpetuum Mobile Artist at Risk who is a curator and working with relocated artists particularly working on their artistic work. Kathy McCann who's who's coming from Penn International in the U.K. and is working on their Writers at Risk Protection program and also Elizabeth Dovic who's the program director of ICORN in Norway. And I will do just what Marita did before. I'll just call on each one of you in turn and ask you to please be looking at your watches. Matthew Kovey Thank you, thank you Marianne. You know I think there's been so many fascinating conversations happening today and I guess there's two things that I want to mention and these are in no particular order but just sort of reflections on what I'm seeing today. One thing as we have become increasingly involved with working with the U.K. as the U.K. prepares for Brexit and being at that juncture now and thinking about the ways that the laws in the U.K. are changing are going to be changing mobility into the U.K. for the culture and looking back on where we were in the U.S. I guess I want to make one comment about the extent to which the barriers for mobility and the barriers for culture really run the gamut from the nefarious which is largely what we're talking about here today which is really concerted efforts to undermine freedom of expression but they also run to the other extreme which is just simply the bureaucratic accretion of freedom of speech or accretion of barriers to freedom of speech and I think part of what's been interesting with the program that we've been running in New York with the Safe Haven's incubator for music is trying to figure out where to intersect ourselves into that continuum and where an artist at risk this goes back to that old definition this is something we've all talked about for years where an artist at risk and what is the risk that is important at what point does an artist's risk become significant enough that our community takes this on and I think part of what concerns me and I see this happening happening for three decades in the U.S. and perhaps happening elsewhere is this point where the risks are not imprisonment per se they're not they're not torture necessarily but we see across the board bureaucratic measures and systems that inhibit and just tamp down freedom of expression in ways which are much broader and also ultimately affect in some ways similar silencing but that's one thing that I think is it's kind of an outlier to the conversations we've been having here but I also think it's an important thing to keep in mind that these risks come from a lot of different areas. The other thing that is something I mentioned briefly earlier and that's I think in these discussions about collaboration and the community that we need to build I think that the role we just had a couple of interesting conversations with some of our residents recently about trying to figure out how to focus our efforts in terms of what we're trying to achieve for them and the thing that we keep coming back to is how important it is for them to build their careers and their own independence is something that they're so focused on and sometimes at least in the U.S. there's such a stark separation between what you do to make good art and what you do to make sellable art and I think we tend to be very focused as people coming from the arts community on good art and I think that we're trying to recalibrate right now to think a little bit more about how do we integrate them and what can we do for them professionally so that they don't have to rely on residency programs forever or they can really move toward commercial which is not as fun and is inspiring to me as a committee from the arts background but certainly ultimately extraordinarily important for what the artists are trying to achieve and it's something I think we lose track of and if we're losing track of it it may be something that others here are losing track of as well Thank you Matthew Over to Allison Russo Allison your name is there I don't know if you are there If not I'd like to ask Ashley to jump in from the Artistic Freedom Fund Artistic Freedom Initiative Thanks everybody Thanks Marianne I'm Ashley I'm the director of programs at the Artistic Freedom Initiative Marianne I'm back in New York so I'm on the East Coast that's where our organization is based for those who don't know us we are an organization led by immigration and human rights attorneys and we provide pro bono immigration representation to at-risk artists as well as resettlement assistance I think a lot of folks here already know our work but for those of you who don't that's what we do in a nutshell I think what really resonated with me the most and I was so glad to see had been a real touchstone in this year's Safe Havens conference is this idea of collaboration and legality and it resonated with me so much because this idea of collaboration is absolutely foundational to AFI's mission we've built an organization that operates at the intersection of art, law and human rights and we've really sought to build bridges between the fields of art and law and this has really been done by trying to bring in hostile partner operators and really centering and prioritizing partnerships and as an organization that's led by lawyers but as an organization that also wants to take a holistic approach to uplifting artists under threat we know the vital expertise and service that we can offer as lawyers but we also understand how critical it is for us to join forces with those who have other vital resources required to uplift artists under threat and save artistic freedom ultimately one of these programs is partnering for example with Thomas Dot on the residency program that Matt just mentioned in New York for organizations at risk so I think really importantly we've had to and have been very pleased to reach out to partners and collaborators who haven't historically already been part of the field, the sort of field of as we sometimes say in the safe havens crowd kind of usual suspects so to speak and we've really been able to bring them into this work which has been super exciting so in that way you know AFI has not only been building up our own network but we've really been working to capacity build for the field and familiarize folks across all three of our programs legal services, resettlement assistance which includes our residency program and our artists for social change program which creates platforms and opportunities like exhibitions, concerts you know putting on plays things of this nature we've partnered in pro bono attorneys law firms to the network to take on at risk artists cases we've you know brought a coalition together around our residency program we've partnered with a lot of arts and culture institutions presenting organizations in New York so we're very proud of our work to help capacity build for the field and recently we've just launched a certificate program in art and cultural heritage law which is being hosted and taught by Georgetown law in Washington DC we're super excited about it and this is another way we're really hoping to build bridges between fields and sectors so we can learn more together building partnerships and imagine how we might work more closely together to see apart the arts and artistic freedom so I'll just in the spirit close with you know for those of you who don't know our work or for those who are watching at home as I said you know our mission as immigration rights attorneys is to provide these legal services to at risk artists so if you or anyone that you know could use our help or if you're an organization that is interested in partnering or collaborating with us in some way please reach out don't hesitate you can email me at Ashley at Artistic Freedom Initiative and thank you to Karima for today and to all of you for your wonderful conversation and work and input thank you Ashley apparently Alison had to leave for some serious reason so Marito can I pass over to you are you there there you are moment yes now you can hear me right good afternoon for my part for everybody or good morning it has been a really fruitful day and I have lots of remarks but I will point out some of them are these at risk as an institution it is based on the idea of fear organization or a commons and that's the reason I will elaborate that a bit so basically our hosting model it starts from there it consists of fears so we have created a hosting model it's that we have in each AR hosting half actors from different fields I am co-funding director of Artist at Risk Ivor Stadolski we are great but also we have back around in activism and in politics so basically it's very holistic way so we bring together it's human rights lawyers, musicians unions, artists unions actors like national theater funders cities and so on and according to the artist we are hosting we invite more peers if we have a LGBT activist coming then it means that we include actor from that field and we wouldn't be able to host actually artists without this model and this also the mini competition if we talk about cooperation because we come from different fields different artistic disciplines and also it's it's kind of human rights field for example our funding mainly comes from arts and culture but we cooperate with actors like local pens and so on and that has been a very fruitful model actually to create this kind of cross-sectional or interdisciplinary corporations. Another principle which we respect is that art practitioners we host they are our peers which means that they bring our expertise to our organization which is really crucial in our hosting model and I think that that's something which is very important to emphasize in this work and this brings in something which was mentioned earlier that when we host artists we don't only look at the risk we look at the artistic career paths also in the relocation which takes us also to pre-location and post-location we know that it is internationally when you work with artists it's really competitive field so actually if you work with especially artists who have been silenced usually they haven't been able to practice their art in our program they don't have to do anything but so far we haven't hosted anybody who haven't been feeling actually to practice art so we need mechanisms also basically to support artists and their artistic careers after they are our residents and we do so but we would need more cooperation in that field from professional art actors and we do work with institutions like big museums like etc. in Karlsruhe CCCP in Barcelona National Theater in Tunis and so on so we always have both kind of grassroots level organization and big institutions so that artists we host also in different cities can exhibit and to be plugged into our network so it means that they don't only have a network in their relocation place but also we activate then its other institutions which might be interesting in hosting them and that brings us into kind of multiple relocations when you look at an artistic path often it's kind of the first relocated in Tunis in some case that's okay but if it's a Brazilian artist the future perspective might be rather in Europe, in Portugal or in France so we also have to look at in a holistic way how the artist can create a sustainable its career as an artist so we look at both this kind of risk and threat and protection but at the same time we really emphasize the fact that we work with professional artists and I think here something Mike Müller referred to earlier which is very crucially brings something what we are doing in Artist at Risk Secretariat a lot is grant writing both for artists and for our hosting organizations it's basically we do the capacity building in grant writing and then we actually do write grants both for Artist at Risk Secretariat students, alumni and help them to kind of learn this process but this is the same thing with our peer hosting organizations example for example our partner in Tunis they have capacity to do so but basically the problem is that many funding it's the mechanisms are for individual artists not for structures and therefore such new initiatives the protective vendors of EU like the shelter initiative is extremely important and we are now for example working with our partner in Tulum in Mexico that they would get structural funding because often hosting organizations outside of Europe they are depending on the funding of individual artists and so on so even though you build in the capacity and they could host the next artist there are no resources and no continuity to do so I think that there is also responsibility in this capacity building that if you build the capacity you have to be able to also continue that support so that people can actually host and support artists after that these are few points there would be more so it has been a good discussion but I will end it here Thank you and now I'd like to just pass the mic again Hi everybody very nice to be here so Penn is approaching its centenary year in 2021 and so we have been working on cultural rights for nearly 100 years now and the defence of freedom expression including artistic freedom is at the core of Penn's mission I would like to focus on some issues some points in the report but I think talk particularly to some of the operational obstacles in actually carrying out the recommendations the first is relating to funding funding for individuals Penn like many organisations provides small emergency funds for writers at risk and it's very clear that these short term measures really do not address the long term needs of writers and artists and I feel particularly that most of our cases they come to us perhaps in an initial emergencies but their situation is very long term and the situation for long term limbo particularly writers and artists who have had to flee their countries and are in insecure exile or displaced within their countries is very very acute and I just feel that we really lack sufficient strategies to address their situation and to assist them both short term and long term the second is about monitoring and the need for greater monitoring and documentation of cases of artists and cultural actors at risk we publish a case list every year and so we are carrying out this kind of regular case documentation work and research work and and this it's very it requires paid staff to do this work and therefore I think it's a kind of unseen all of our other work relies on solid thorough research and proper verification of cases and that goes for our direct assistance work and our advocacy and campaigns all of it's rooted in case research of individuals and it's very very difficult to do this work without decent paid staff and also outreach on the ground a network of membership or other local organisations that can assist with that the other point is around duplication it's it's much easier to say we shouldn't duplicate our work than to actually not do it and I feel that really we need to look at how we share information particularly on cases there's a lot of issues there to unpack around sort of methodology and process and I think we need more good practice in the field and to share that in order to actually understand how to do it and to work together in a proper collaborative way and finally around the issue about networking collaboration I'd like to really sort of talk about the challenges that we face and I'm sure many of other organisations face working with volunteers our membership grass roots membership based organisation the large proportion of our membership our volunteers most of them don't even have an office very few of them have any kind of paid staff and so there are really really serious capacity issues there and also many of them made more complicated by the fact that they're working in a very hostile environment and so I think the kind of the need to strengthen the capacity on the ground is very very complicated and requires a lot of resources and also expertise and finally I suppose I would like to say in terms of a good practice model that has been working very well for many years is that could be replicated I think is the collaboration between Penn and ICON we've been working together both formally and informally for over a decade now and that includes both at the international secretariat level and at centre level and I'll obviously hand over to Elizabeth to talk more about that but in terms of of actually a good collaborative model I feel that ours is one and it's good to share good practice and work together thank you thank you Kathy and brilliant numbered points easy for me to take notes and that's a perfect segue to Elizabeth Dubek from ICON yes thank you very much Marianne and thank you to the organisers thank you to Farida and Karima who have led us through this as well and thank you to Kathy that I was just actually starting with that we in ICON although we are we look like a large organisation with almost 75 or more residences worldwide we are a very small organisation when it comes to staff in the secretariat and when we started we saw immediately that we couldn't do this as an organisation on our own if we're going to employ people to do all the work that had to be done to run residences like this if you want to work safely as an artist you need to to have some rights in order to have some rights you need to have laws and regulations you needed to have and then when laws and regulations are breached you need protection and this sort of structure also shows the different levels that I could say the sector if you want can work on whereas we in ICON work on a subset of this because we do only relocation which is a small subset I would say of the protection work that goes on so we partnered very early with Penn that we knew had the knowledge and the competencies to do professional research on case work for writers and there there the systematic way they work made them able to also take on research when it came to other artist groups and other things because it's more the methodology than the actual profession that is needed in that sort of work partnering with Penn was also instrumental or important because we chose also early to do advocacy and lobbying and that's something that Penn does very well Penn is as Cathy said a grassroots organization in many ways it's built on poets and writers and activists if you want so some of the people who have been in the residencies of ICON have then moved on to work with Penn to set up Penn centers like the Eritrean Penn in exile and things like that so this type of collaboration is very important as it gives structure and builds on models that has been tried it's also given us access to Penn's extensive network but we have worked systematically in ICON to fill the gaps of our small organizations because there is a lot of competency and a lot of things that we don't have already in 2013 for instance I'll just give you two examples we partnered with Article 19 who let us use their accreditation to get into the Human Rights Council in Geneva in 2013 to be there for the launch of the readers report and that sort of thing is I mean we have found that all of you who are here all of those we have seen we work with almost all of them already and we have been for at least 10 years so I would like just to give a positive message that there is a lot of collaboration going on and I find that almost all organizations although we are really stretched and so on we are so passionate about the work that we do all of us that we are really willing to collaborate to cooperate with very few exceptions but and we have worked with universities like University of York who are of course experts in doing research we are not we have worked with international and known artists like the Catalan musician Jordi Saval on the project called Orpheus 21 to bring refugee musicians in contact with with musicians in Europe so this just shows a little bit of the variety of collaborations and contact points in so many parts of this wide network of people working on the same issues we are of course also very much collaborating with all the cities that Helge mentioned and they bring to the table a wealth of local resources including I mean it's a bit like what Matthew was talking about local artists communities, health and social services support, network, security and together with them we do capacity building for instance I just invite Matthew already here over the table to participate in our next capacity build and it has to do with on how to prepare for life after the residency so that's maybe something that sort of topics are the things that we then collaborate with those in the network who have been working with that lastly I would like to say that it was mentioned already before the networks that we are part of like the European temporary location platform we are part of lobbying networks like ECRA, the European Council for Refugees and Exiles, we're part of IFEX and in this way we are a small participant but we have a broader network that can lobby, that can go out and do these more structural approaches to larger bodies like the UN and the political bodies around the world as well but I think that one of the most important thing that for instance the European Union in its temporary location platform does is it puts the money on the table to bring us together I know that now with the corona it can't be done physically but that is actually one of the most important things and that's why I'm so happy also for this sort of initiative where we are brought together and can talk not just about what to do in the future but maybe also to discuss each topic at hand and bring together the different capacities because if you look around and here listen to all the people who've been here today there is already great capacity there is so much and there are so many we have a lot of resources now that they are already brought together so I'll just like to say thank you and let us keep meeting and working together yes Thank you Elizabeth my God what a day and you've all stayed everybody must be exhausted and at this time we probably would have more music and we'd go to the bar and then we'd have a wonderful dinner but we might all go to a bar in our kitchen and we might all have a wonderful dinner in our kitchen but the spirit I think is still the same somehow I would like to just mention quickly that we will of course be following this up with mailings to everybody to report on what are the next steps and there will be a number of different different reports and publications which are made out of it but I want to give the last word which is I mean I think we he will be thanking people I would like to thank people too and I think our team would like to thank also Frederick Elk who is the mother and the father of St. Pavens and so I will just now pass over to him On behalf of the Museum of Movement and on behalf of the safe havens and freedom talks I'd like to say thank you very much for contributing to these very intense sessions we've had today and the very important discussions that we've had Farida Shahid and Karima Benon thank you so much for moderating these roundtable discussions and thank you everyone who contributed with your knowledge and your interesting and important programs we will now edit the short report with significant comments from today's discussions and we will send it off to the speakers first and make sure that we have everyone's approval and then after that we will widely circulate it as a roadmap for everyone to use and everyone to read and to discuss and of course we will also use it to measure progress and to bring it up again and discuss it in next year's meeting also a fuller report of the whole safe havens meeting this year will be available next year in the beginning of next year with interviews by Michael Schmidt last year we started traveling with safe havens after having been meeting in Malmö since 2013 we were in Cape Town South Africa last year and was quite successful and we thought we were traveling to another place this year but there weren't no one traveled anywhere this year apparently so we hope next year we will be able to meet in real life somewhere but I think we have also learned quite a lot about how using the internet and meeting online can also be very inclusive because also in the post-COVID world many people in our field are not able to meet, are not able to travel like they wish people will not be able to get visas they may not be able to leave their country or enter the country and so on so I think in the future we will try to have a hybrid where we can meet physically but also make sure that people who can not come can meet together with us and contribute through the internet I think that will be very important for next year and having said that also to encourage everyone who is part of this sector of this network to contribute over the year in the spring with ideas for next year say if I have a meeting what you want to bring up and what you want to present because this is a network meeting and it's a work meeting where we need all to feel that we can contribute and we can be part of it and maybe even one of you organizations would like to host to be part of hosting the next year's meeting because that is if we wish to travel that is how we want to travel together and to organize the each year's meeting together somewhere wherever we decide to be next year so so you are very welcome to contribute and come up with ideas and yes wrapping up this year's meeting in the safe haven 2020 global stream I'd like to thank again everyone for your contributions and thank you everyone who followed us because this has been an open session today and a special a very very special thank you to this year's key main moderate curators sorry the key curators Mary and the fleek and Jude Dibbia thank you so much for your work you've been working very very hard for my things and I'd also like to thank everyone who's been behind the scenes Meltem Öztürk Melke Bengtsson Anna Maria Bemejo and Michael Schmidt and a big thank you to collaboration partner Safe News and John Lotte Eriksson and finally of course the funders who helped us organize this year's meeting the Norwegians which Arch Councils Frit Ort Norway and the Museum of Movement I hope to see you online and somewhere in the world next year for Safe Havens 2021 thank you so much thanks everybody