Category: News

“Qaf” – New album release from Ghawgha

Post author By Akari
Post date November 10, 2024

Ghawgha - Qaf album cover

"Qaf" - Ghawgha releases new album

November 10, 2024

On the 12th of November, Ghawgha will release her album “Qaf” at Victoria Nasjonal Jazzscene in Oslo. “Qaf” can be translated as a place of refuge, or an inner home where one meets one’s true self.

The album is produced by OK World in cooperation with LIDIO/Safemuse. The founder and former general manager in Safemuse, Jan Lothe Eriksen, has since its inception, been passionately involved in the project. With a dedicated and talented group of artists and production team, this beautiful and important album is finally ready to be shared with the world.

The artists Anja Lauvdal and Marianna Sangita A Røe, who feature on the album, will be joining Ghawgha on stage for the release concert.

— Ultimately, “Qaf” is a quest for finding home, identity, and humanity; perhaps the place we all belong to and are seeking the peace hidden within these sounds and experiences.

Ghawgha

Here are Ghawgha’s reflections on “Qaf” and the background for the album:

— The album “Qaf” is not just a musical work for me; it reflects years of search, observation, and experience. A journey that took me from my hometown to unfamiliar lands, traversing the streets where I grew up to the new borders I had to cross in search of a new identity. This album began as a personal journey but ultimately became the voice of those who share a similar experience; those who have faced loss and displacement in their quest for a home, and who continue to seek a new meaning for themselves.

— In this journey, I have often encountered the harsh realities of migration, displacement, and the endless search for a place called “home.” Each piece in “Qaf” reflects not only the moments experienced during my travels through Iran, Turkey, Greece, and Afghanistan, but also the stories of those who have lived through similar struggles and hopes. In tracks like “Sing for Me” and “Boat,” I revisit my memories; memories that have accompanied me from the streets of my hometown to the unfamiliar shores of the sea. “Sing for Me” evokes the longing for my childhood days and the feeling of being cast away from the environments that once were my home, while “Boat” portrays an eternal farewell in the heart of the night, an experience I have often heard through the voices of migrants and refugees, and has now become part of my own story.

— However, “Qaf” is not just my story. In fact, this voice goes beyond my personal experience. This album reflects lives and stories that we hear in every corner of the world; the stories of individuals who view the world through a similar lens and share the feeling of loss with me. Each piece, from “Kabul Beauty” to “Here,” is a collective voice; a voice I want to be heard, a voice for those like me, seeking a place they can call home.

— Ultimately, “Qaf” is a quest for finding home, identity, and humanity; perhaps the place we all belong to and are seeking the peace hidden within these sounds and experiences.

For more information about Ghawgha and her work, visit her website:

https://ghawgha.com

12 November, Album release of “Qaf” by Ghawgha @Nasjonal jazzscene, Oslo

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– Safe Havens for Artists About Us What we do Our five pillars Our history Who we are Our members Media resources Contact Us News Safe residencies Residency programme Oslo Art Haven Hvitsten Art Haven How to apply Projects Safe Havens Conference Women’s network MoFA+ collaboration Salong på Salongen Artistic mobility Artistic

“Qaf” – New album release from Ghawgha

Menu Close Safemuse About Us What we do Our five pillars Our history Who we are Our members Media resources Contact Us News Safe residencies Residency programme Oslo Art Haven Hvitsten Art Haven How to apply Projects Safe Havens Conference Women’s network MoFA+ collaboration Salong på Salongen Artistic mobility Artistic Freedom Week LIDIO SAFE Artists

About Us What we do Our five pillars Our history Who we are Our members Media resources Contact Us News Safe residencies Residency programme Oslo Art Haven Hvitsten Art Haven How to apply Projects Safe Havens Conference Women’s network MoFA+ collaboration Salong på Salongen Artistic mobility Artistic Freedom Week LIDIO SAFE Artists

“The Common Enemy” by Nikan Khosravi

Altyn Kapalova – A fearless advocate for feminist & queer art

21 September, “Dancing Into Fire” – Audiovisual performance @National Opera, Oslo

14 September, Concert by Pouya Pour-Amin at the Ultima festival @Trekanten, Oslo

OPEN CALL – Oslo and Hvitsten Art Haven 2025!

Når kunsten er å gjøre motstand

Skal UDI ødelegge for kunsten?

I hope to rediscover freedom of speech

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News

“The Common Enemy” by Nikan Khosravi

Post author By Safemuse
Post date October 30, 2024

Metal music as a global phenomenon has always been a threat to the establishments. (Photo credit: James Bento)

"The Common Enemy"

- Violations Against Metal Bands: Reasons Beyond Religion

Written by Nikan Khosravi, intern in Safemuse and founding member of the band Confess

October 30, 2024

Interlude: Why This Matters to Me

As the frontman of Confess, an Iranian metal band that has lived through the harsh realities of censorship and persecution, this article is not just a matter of academic interest—it’s deeply personal. I know firsthand what it means to be punished for creating art that challenges authority. In 2015, my bandmates and I were arrested, tortured, and imprisoned under charges of blasphemy and “insulting the sacred,” simply for playing heavy metal. We faced 14 years in prison and 74 lashes, all because our music dared to question the oppressive theocratic regime that governs Iran.

I wrote this article because the fight for artistic freedom is not limited to any one country or ideology—it’s a global issue. As a metal musician, I’ve seen how this genre, which thrives on rebellion and resistance, becomes a target wherever governments and religious institutions feel threatened. Metal gives a voice to those who are often silenced, and for that, it becomes a “common enemy” in places where expression is tightly controlled.

Metal Against Oppression: The Global Struggle for Freedom of Expression

The struggles of metal bands in Poland, Iran, Egypt, Indonesia, and beyond share a common thread: the power of music to speak truth to power. My story is just one example of how far governments will go to silence those who use art to criticize and provoke thought. But for every artist silenced, there are countless others who continue to fight back, using metal as their weapon of choice. This article is my way of highlighting that struggle and standing in solidarity with every artist facing persecution simply for daring to be heard.

Heavy metal has always been the sound of the outsiders. From Black Sabbath, who emerged from the industrial outskirts of Birmingham in the late 1960s; to the young San Franciscans who called themselves Metallica, who took metal to new heights in the ’80s; and the nine-piece masked band from Iowa, Slipknot, who introduced a new level of rage to the genre (Bowar, 2019).

From the very beginning, metal music has served as an outlet for young people to express their frustration and pain in navigating the modern world, giving voice to their anger and raw emotions. It has been used to criticize politicians, rage against religion, and challenge preachers. As technology advanced, this music transcended borders, spreading to different regions worldwide. It is safe to say that, today, metal music is an international genre, rivaling pop and rap in reach. In every corner of the globe, metal artists blend their own cultural influences with this powerful genre. Over the years, various musical styles have been fused with metal. Some prime examples include samba music, as performed by Sepultura from Brazil, and folk, as infused by System of A Down (Lawson, 2016).

Heavy metal music is known for its loud, aggressive sound and rebellious spirit and it has long been a genre associated with rebellion, counterculture, and pushing societal boundaries. While metal’s aggressive sound and controversial themes make it a magnet for censorship and persecution globally, the intensity of these crackdowns varies depending on cultural, religious, and political contexts. Metal bands, often seen as subversive, are targeted in countries where strict religious or authoritarian values prevail. This struggle goes beyond music, touching on larger issues of freedom of speech, artistic expression, and resistance against state control. This is true from The United States to Asia.

This article takes a closer look at some of these countries, exploring specific examples to understand why metal music has become a common enemy for these governments when it comes to artistic freedom of expression and how metal musicians can become scapegoats for broader cultural and religious conflicts.

1. Poland: Metal and the Fight for Religious Tolerance

Poland, a predominantly Catholic country, has a complicated relationship with heavy metal due to its deeply entrenched religious values. The nation has seen metal bands clash with the legal system, particularly through the enforcement of blasphemy laws (Wądołowska 2021), which make it illegal to insult religious beliefs. These laws are part of a broader effort by conservative political factions to protect Poland’s Catholic identity.

Behemoth, arguably Poland’s most internationally recognized extreme metal band, has repeatedly found itself at the center of these legal battles (Houston, 2014). Frontman Adam “Nergal” Darski was charged with blasphemy in 2014 for tearing up a Bible on stage and calling the Catholic Church “the most murderous cult on the planet.” (Pasbani, 2011). Although Nergal was acquitted, his case sparked national debates about freedom of expression versus the protection of religious sentiment. Behemoth’s continued performances, laden with anti-religious imagery, keep the controversy alive.

In Poland, artists can face legal charges for offending religious beliefs under the country’s blasphemy laws. Punishments often include fines, court trials, and community service rather than imprisonment.

Religious leaders and conservative politicians argue that such performances disrespect Poland’s religious heritage and threaten the moral fabric of society. However, metal fans and free speech advocates view these laws as a violation of personal liberties and an attempt to stifle dissenting voices. Poland’s fight over metal music reflects deeper tensions about the role of religion in public life and how much freedom of expression should be allowed in a democratic society.

2. Iran: Metal as a Challenge to Theocracy

In Iran, metal bands face even harsher treatment due to theocratic laws that view this genre as a threat to Islamic values. (Krovatin, 2019) Since the 1979 revolution, any form of music seen as promoting Western decadence is heavily censored. (Askew, 2022)

A prime example was when my bandmate Arash and I were arrested by the Revolutionary Guard in Tehran in October 2015 and taken to Evin prison, where we were held for almost a year and a half. The arrest was based on multiple charges, two of the main ones being blasphemy and propagating against the state. During the interrogations, which continued while we were held in solitary confinement for three months, we were questioned about our relationships with entities outside the country, under suspicion of spying, and about the motivation behind writing anti-establishment and anti-religious lyrics. After the first trial sentenced each of us to six years in prison, I left Iran. After spending some time in Turkey, I moved to Norway in December 2018 and continued my work. Later, in July 2019, the appeal court increased my sentence to 12 years and 6 months in prison, along with 74 lashes. (Mills, 2022)

In Iran, metal musicians face some of the harshest penalties. Charges like blasphemy, promoting anti-Islamic sentiment, or anti-state propaganda can result in long prison sentences, flogging, and forced exile.

The Iranian government frames these crackdowns as necessary to uphold Islamic values and prevent moral decay. Metal, in their eyes, promotes Western decadence and encourages youth rebellion against religious authority. For metal musicians in Iran, the choice is often exile or imprisonment, as the state continues to view cultural resistance as a form of political dissent.

3. Egypt: The Stigma of Satanism and Social Repression

In Egypt, metal music has long been stigmatized as being associated with Satanism, immorality, and social deviance. (Tewfik, N. Nasr, N. 2016) This perception came to a head in 1997 when authorities launched a wave of arrests targeting metal fans and musicians, accusing them of participating in “Satanic rituals.” (Charbel, 2010) The government justified these raids as a means of protecting society from dangerous foreign influences.

In Egypt, musicians are often arrested on accusations of promoting Satanism or immoral behavior, with punishments including arrest, detention without trial, and public defamation.

Although like Iran, metal is not explicitly banned, Egyptian metal bands face severe societal and governmental opposition. Female-fronted bands like Massive Scar Era have used the genre to confront issues such as gender inequality, but they must often perform abroad to escape the restrictions placed on their music at home. The conservative social climate in Egypt, combined with a government eager to suppress anything that might challenge its authority, makes metal a risky form of expression.

In explaining their actions, Egyptian authorities and conservative religious figures claim that metal music is a corrupting influence on youth, often linking it to Satanism and moral decay. In reality, much of the repression stems from fears that metal bands, with their rebellious lyrics and alternative lifestyles, could inspire broader resistance to the status quo.

4. Indonesia: Metal Against Religious Intolerance

Indonesia, home to the world’s largest Muslim population, has a thriving metal scene, but bands often find themselves at odds with religious and government authorities. In provinces like Aceh, where Sharia law is enforced, metal music is viewed as a symbol of rebellion against Islamic values. (James & Walsh, 2019) In 2013, the government detained 64 punks in Aceh and forcibly shaved their heads as part of a “moral crackdown” on metal and punk communities, accusing them of undermining religious principles. (Curran, 2011)

Bands like Burgerkill, one of Indonesia’s most prominent metal acts, continue to face pressure from both the state and conservative Islamic groups. Despite these challenges, the metal scene remains resilient, serving as a voice for countercultural and political dissent. Metal musicians in Indonesia are often vocal critics of corruption, inequality, and religious intolerance, which puts them at odds with a government eager to maintain social order.

The Indonesian government and conservative religious groups often justify their actions by claiming that metal promotes “immoral” behavior and Western decadence. However, for many young Indonesians, metal offers an outlet for expressing dissatisfaction with the rigid norms of their society.

In conservative regions of Indonesia, metal musicians and fans may face arrests during raids, followed by detention, forced shaving (symbolizing moral cleansing), and in some cases, enforced participation in religious re-education programs.

5. Saudi Arabia: Metal as a Form of Rebellion in a Conservative Monarchy

In Saudi Arabia, one of the world’s most conservative Islamic nations, metal musicians face serious risks. The kingdom’s strict interpretation of Islamic law leaves little room for musical expression (Zaghdoudi, 2024) that deviates from the norm, and metal is often associated with blasphemy and immoral behavior. Underground metal bands, like Al-Namrood, (Chester, 2015) operate in secrecy to avoid arrest. The band members have remained anonymous for their own safety as they defy Saudi Arabia’s religious and political establishment through their music.

The Saudi government views metal as an affront to Islamic values and public morality, and metal musicians risk severe punishment, including imprisonment or even flogging, if caught. Yet, despite the risks, underground metal continues to grow, providing a form of resistance for young Saudis seeking to rebel against the country’s oppressive regime.

In Saudi Arabia, underground metal musicians risk severe punishment, including imprisonment and flogging, and Execution if they are caught. The country’s strict Sharia law views metal as a threat to religious morality and public order.

Violations Against Metal Bands: Reasons Beyond Religion

Metal bands have faced violations, censorship, and backlash for various reasons beyond just religious opposition. Here are some key factors that contribute to this:

1. Cultural Misunderstandings:
Metal music often incorporates dark themes, graphic imagery, and intense performances, which can be misinterpreted by those unfamiliar with the genre. For example, black metal, one of the most extreme sub-genres, is known for its use of “corpse paint” (Bhagwandas, 2024)—a type of theatrical makeup that creates a ghostly, death-like appearance. This aesthetic, along with the genre’s dark themes, is sometimes wrongly associated with satanic worship. The imagery is often intended for dramatic effect rather than literal worship, but it can still provoke backlash from conservative communities.

2. Political Views:
Many metal bands voice strong political opinions, often challenging authority and addressing issues like war, corruption, and social injustice. This can result in censorship or even bans, especially in authoritarian regimes. For instance, Rage Against the Machine’s anti-establishment messages led to a temporary ban of their music from US radio stations following the September 11 attacks. (Sharp, 2024) Similarly, bands like Megadeth and Lamb of God have faced scrutiny for their politically charged lyrics.

3. Social Stigmas:
Metal music and its subcultures are frequently stigmatized by society, often being associated with violence, rebellion, or anti-social behavior. A notable example is the aftermath of the 1999 Columbine High School shooting in the United States, where the media blamed Marilyn Manson’s music for influencing the shooters. (Brannigan, 2020) Despite there being no evidence to support this claim, the controversy surrounding his music persisted.

4. Lyrical Content:
Lyrics that deal with themes like violence, drugs, or other controversial topics can provoke backlash. Parents, the media, or law enforcement may view such content as harmful or inappropriate. For example, Dee Snider of Twisted Sister was called to testify before the U.S. Congress in 1985, defending the band’s hit song “We’re Not Gonna Take It” against claims that it promoted violence. (Grow, 2015) Similarly, Cannibal Corpse has faced criticism from politicians like Senator Bob Dole, who accused the band of undermining American values with their graphic lyrics. (Gold, 1995)

5. Historical Context:
In some regions, metal music has been tied to countercultures or social movements that authorities view as subversive. In countries like Egypt and Iran, metal and rock are often seen as part of a Western agenda to corrupt the youth and undermine traditional values. This has led to frequent crackdowns on metal bands, concerts, and even fans in these regions, where authorities equate the genre with rebellion against societal norms. (Pace, 2005)

6. Racism and Discrimination:
Some metal sub-genres, particularly black metal, have been criticized for harboring racist or neo-Nazi sympathies. (Buesnel, 2020) For example, Varg Vikernes of the Norwegian band Burzum has been outspoken about his far-right views, contributing to the genre’s controversial reputation. (Stratton, 2023) Bands such as Taake, Marduk, and Gorgoroth have also faced backlash for similar reasons, with concerts being cancelled due to allegations of promoting hate speech. (Hohnen, 2023) However, not all black metal bands share these views, and many have publicly distanced themselves from any association with racism or neo-Nazism.

The Limits of Free Speech in Metal

Heavy metal has always prided itself on pushing boundaries, using shock value, controversial lyrics, and extreme imagery to challenge societal norms. However, when does that free expression become harmful, especially when it flirts with hate speech?

Under free speech principles, musicians have the right to express themselves through their art, even if their views or symbolism are controversial. But when those expressions actively promote racism, white supremacy, or violence against certain groups, many argue that it crosses into hate speech, which can be harmful both legally and socially. Some countries, particularly in Europe, have strict hate speech laws, and as a result, concerts by bands accused of neo-Nazi sympathies have been banned or heavily protested.

In Germany, for instance, hate speech laws prohibit the use of Nazi symbols or propaganda. As a result, bands like Taake and Marduk have faced concert cancellations due to alleged associations with far-right ideologies. (Neilstein, 2018)
In the U.S., where free speech is more broadly protected under the First Amendment, these issues become more nuanced. While bands may legally express extremist views, they can still face social backlash, boycotts, and venue bans.

This tension between protecting free expression and curbing hate speech is not unique to metal but is particularly charged within this genre, where provocation and extremity are often integral to the music’s identity. The debate continues over whether hate speech within black metal or NSBM should be tolerated as part of free expression or condemned for promoting harmful ideologies.

7. Sexuality and Gender Issues:
Metal has historically been male-dominated, but the rise of female-fronted bands like Arch Enemy, Jinjer, Epica, and Nightwish has challenged traditional gender roles. These bands have achieved international success, proving that metal is no longer a “boys’ club.” The presence of women in metal, both as musicians and fans, is now widely accepted within the community, though certain conservative groups may still view some performances or lyrical content as provocative or immoral. (Burns, 2020)

8. Drug Use:
Metal musicians have often been linked to substance abuse, which has led to negative reactions from authorities and the public. The deaths of many prominent rock and metal artists due to drug use (White Sands Treatment 2017) have reinforced the stereotype that metal musicians are heavy drug users, which in turn affects how the genre is perceived. While these associations are often exaggerated, they can still result in restrictions on performances or negative media portrayals. (Cornell, 2018)

9. Violence at Shows:
Metal concerts, like any large gatherings, can sometimes escalate into violence, leading to restrictions or bans on future performances. A famous example is Woodstock ’99, where riots broke out after a chaotic performance by the nu-metal band Limp Bizkit. (Heritage, 2022) Additionally, in 2001, a free surprise concert by System of a Down in Los Angeles was cancelled after thousands of fans rioted when the event drew an unexpectedly large crowd in a residential area of Hollywood. (Everley, 2023)

10. Personal Conduct of Band Members:
Individual band members’ behaviour can also lead to public backlash or legal consequences. For example, Tim Lambesis of As I Lay Dying was arrested in 2013 for attempting to hire a hitman to murder his wife. (Guardian music, 2014) Other artists, such as GG Allin (Dome, 2022) and Axl Rose (Dome, 2022), have also been arrested for violent behaviour. In the early 1990s, members of the Norwegian black metal band Mayhem were involved in the burning of several historic churches in Norway, acts that were seen as symbols of resistance to Christianity and calls for a return to paganism. (Mythic Imagination. 2022) Additionally, In May 1994 Varg “Burzum” Vikernes was found guilty of killing his band member Øystein “Euronymous” Aarseth which has affected their public image and the reputation of their bands. (Darya, 2019)

These factors illustrate the complexity of the challenges metal bands face, reflecting broader societal attitudes and conflicts. While the genre often serves as a platform for artistic expression and political dissent, it is also frequently misunderstood, leading to a range of social, legal, and cultural consequences.

What is the future for Metal music?

In conclusion, heavy metal music continues to be a powerful force for artistic expression and cultural rebellion, transcending borders and challenging societal norms. The genre’s ability to give voice to frustrations with authority, religion, and the status quo has made it a target for censorship, persecution, and social stigma in many parts of the world. From Poland to Iran, Egypt, and Indonesia, metal bands have faced legal battles, imprisonment, and societal backlash, reflecting the broader struggles for freedom of expression in these regions.

These attacks on metal music are not merely about the sound or style but are part of a global confrontation between conservative ideologies and artistic freedom. Governments and religious authorities often see metal as a threat to their power, viewing its provocative themes as tools of rebellion. However, metal bands and their fans continue to resist, using music as a platform to confront injustice, push boundaries, and demand the right to express themselves freely.

Ultimately, the global struggle of metal bands in these regions exemplifies the ongoing battle for artistic rights and freedom of expression. As long as repression continues, metal will remain the voice of the outsiders, defying limits imposed by authority and advocating for the rights of the marginalized. The fight for artistic freedom, as illustrated by the stories in this article, is a universal one that transcends borders, proving that the common enemy of censorship is a shared adversary for artists worldwide.

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– Gagne, M. (2023, July 12). Axl Rose Was Arrested For Inciting A Riot. Rock 95. https://rock95.com/axl-rose-guns-n-roses-riot/

– Mythic Imagination. (2022, February 5). Timeline of churches burned in Norway. Black Death Metal History, https://blackdeathmetalhistory.wordpress.com/2022/02/05/timeline-of-churches-burned-in-norway/

– Darya. (2019, December 10). The Murder of Euronymous: A Critical Analysis Of Varg Vikernes. Miss Mephistopheles. https://missmephistopheles.wordpress.com/2019/12/10/euronymous-and-varg-vikernes/

12 November, Album release of “Qaf” by Ghawgha @Nasjonal jazzscene, Oslo

“Qaf” – New album release from Ghawgha

“The Common Enemy” by Nikan Khosravi

Altyn Kapalova – A fearless advocate for feminist & queer art

21 September, “Dancing Into Fire” – Audiovisual performance @National Opera, Oslo

14 September, Concert by Pouya Pour-Amin at the Ultima festival @Trekanten, Oslo

OPEN CALL – Oslo and Hvitsten Art Haven 2025!

Når kunsten er å gjøre motstand

Skal UDI ødelegge for kunsten?

I hope to rediscover freedom of speech

© Safemuse Organisation - Oslo/Norway

News Safe Havens Safe Residencies

Altyn Kapalova – A fearless advocate for feminist & queer art

Post author By Akari
Post date October 28, 2024

Altyn Kapalova - a woman of many trades and talents. (Photo courtesy of the artist)

Altyn Kapalova — A fearless advocate for feminist and queer art

October 28, 2024

Altyn Kapalova is a woman of many trades and talents: a visual artist, researcher, writer and feminist activist based in Bishkek, Kyrgyzstan. She creates experimental artworks that combine research, art and politics, and the results of her anthropological findings are transferred into artworks and curated art projects that aim to elevate vulnerable voices and influence political decision-making processes. As an anthropologist, at the University of Central Asia, she has researched cultural policy and creative industries in Central Asia. Her vast curatorial experiences include, among others, visual multimedia art, theatre and creative writing. Kapalova is one of the initiators behind a Feminnale and the Central Asian Museum of Feminist and Queer Art (MoFA+).

In the fall of 2023, Safemuse had the honour of hosting Kapalova at our residency program Hvitsten Art Haven, in an idyllic coastal town situated south of the capital and along the Oslo fjord. Kapalova was among the first artists to attend the then newly-established residency, organised together with our local partner Hvitsten Salong.

— In the open call process for the residency Altyn stood out with her multifaceted background and fearlessness in the eyes of the Kyrgyz authorities. We were eager and excited to meet and work with whom we more and more understood was an important figure in a progressive feminist movement in Kyrgyzstan. Her artistic vision in presenting female traditional Kyrgyz arts and crafts in her own way and in this context was also very interesting, says Jon Lundell, residence coordinator in Safemuse.

Activism, threats and a need for peace and time

In her home country Kyrgyzstan, Kapalova and her colleagues are facing constant risk of persecution for their work promoting feminist and queer art. The authorities have on various occasions opposed and even cracked down on artistic projects that give platform to minority voices and shine a spotlight on societal challenges. Kapalova has over the years been targeted with insults and threats, and many of her friends and colleagues have been arrested.

— My activism didn’t allow me to engage in art in a safe manner. I felt exhausted and craved the experience of the art-making process without threats, in a secure environment, with ample materials for the making process, and the assurance that my work wouldn’t face censorship. When I applied for the Hvitsten art residency, I wanted some peace and time for myself. I wanted to reclaim myself as an artist, Kapalova says.

When I applied for the Hvitsten art residency, I wanted some peace and time for myself. I wanted to reclaim myself as an artist.
– Altyn Kapalova

Promoting feminist and queer art

In Kyrgyzstan, artists, human rights defenders and activists are experiencing an increasingly authoritarian and repressive regime. Art and cultural organisations lose financial support, they experience censorship, threats of violence and imprisonment. Kyrgyzstan has passed homophobic anti-propaganda laws, where speaking out about homosexuality or promoting LGBTQ+ rights can be punished with fines or imprisonment.

Kapalova was one of the initiators of a Feminnale – a grassroot initiative and the first major feminist exhibition in the history of Kyrgyzstan. The Feminnale in 2019, a contemporary art exhibition that took place at the National Museum Fine Arts in the Kyrgyz capital Bishkek, illustrates the difficult situation that artists and cultural workers in Kyrgyzstan face.

The exhibition, which was programmed to last for 17 days, was dedicated to the memory of 17 women and children, amongst them labour migrants, mothers and victims of domestic violence. The exhibition raised some important questions and critiqued the scale of violence against women and children, state corruption, police violence and patriarchal structures upholding so-called ‘traditions’. However, following the Feminnale’s official opening, the team behind the project, participants and museum staff were subjected to insults, provocative acts and threats of physical violence and murder. Among the most active opponents were members of the reactionary ultra-right group Kyrk Choro. The director of the Museum of Fine Arts, Mira Jangarecheva, was forced to leave her post and the exhibition was censored and closed down.

A painstakingly lengthy visa process

Although Kapalova was only planning a short-term stay for her art residence, the application process to obtain a visa to Norway was lengthy. Those who live in Kyrgyzstan have to travel to the Norwegian embassy in Kazakhstan in order to submit their application. Moreover, the task is outsourced to commercial players and it is a process characterised by a lot of bureaucracy and excessive documentation requirements. It took a whole eight months and two trips to Kazakhstan before Kapalova received her temporary visa. The residency, which originally was planned to last six months ended up being only three.

This visa process, like that of many other former Safemuse residence artists, points to the organisation’s main challenge in running art residencies, namely the painstakingly lengthy process of issuing temporary residence permits to censored, threatened or persecuted artists by the Norwegian Directorate of Immigration (UDI) – a process that all too often ends in long delays or rejection.

— Safemuse’s main funding comes from the Norwegian government, because our goals align with that of the Norwegian state, to promote artistic freedom and human rights through strengthening individual activists. When we are hindered from doing our job, due to unnecessarily lengthy and expensive processes, activists like Kapalova are the ones to suffer, says general manager in Safemuse, Celina Jerman Bright-Taylor.

Producing art during Hvitsten Art Haven

Kapalova describes the three months she spent in residency in Hvitsten as “a time and place where [she] could breathe and freely work with [her] art.”

— For the first time in my life, I thanked myself for everything I had done to protect human rights in my country, including advocating for the freedom of creative expression. Gradually, I started to feel the desire to work again. During this time, I had the pleasure of meeting wonderful people, including the artist Maria Waagbo. Together, we collaborated on a textile work addressing femicide, titled “Slap”. Through our collaboration, we exchanged skills, engaged in meaningful discussions, and worked together and separately, Kapalova said.

The artwork ‘A Slap’, which Kapalova worked on during her residence, was exhibited at the Artistic Freedom Conference in March, after she had returned home. The piece was created from fabric, thread and beads and shown on five mannequins in collaboration with the Hvitsten-based artist Maria Waagbø in the fall of 2023. The work is an artistic critique of domestic violence that permeates society and the harsh expectations placed upon women. As described by the artists:

It begins with a single slap, followed by another, and then the tightening grip around your throat. The violence escalates to include blows to the stomach, and then you find yourself enduring kicks, strikes to your kidneys and thighs, leaving you with more and more bruises until you’re covered in them. Ultimately, it ends with your life being taken. Domestic violence is shrouded in societal expectations of being a dutiful wife, daughter, and mother. The reluctance to bring dishonour to the family prevents escape through divorce. Domestic violence remains hidden behind traditions that demand adherence even at the expense of one’s life.

Looking back at her art residency and the process of creating the piece, Kapalova says:

— The artwork we created during this residency is something I doubt I could replicate in my home country at the moment (hopefully things will get better). “A Slap” is composed of thousands of small fabric pieces intricately sewn together to form dozens of amulet-like circles. Such meticulous work demands significant diligence, time, and tranquillity. I am so grateful to Safemuse for providing me with the opportunity to create such a meaningful piece.

Future ambitions

Following the end of her artistic residency in Norway, Kapalova returned to her home in Bishkek.

— Now that I’m home again, life is crazy-busy as usual. I often miss the calm and quiet work environment I had in Norway. But I’m thankful for the habit I cultivated during my months at the art residency, the habit to create my own artistic pieces. Since coming back, I’ve made two new pieces. I try to remember that I’m an artist and keep the feeling of creating alive in my mind. It helps me find time for myself and my art.

The Central Asian Museum of Feminist and Queer Art, of which Kapalova is one of the founders and curators, has already made a commendable effort to raise voices, support and connect artists, and increase knowledge about artistic freedom of expression in the region.

In the aftermath of the Feminnale in 2019, which was closed down by the authorities, the museum has been collecting works that promote women’s and LGBTQIA+ community’s freedom, and gender equality. Kapalova says that it was also established in order to use art as a channel to stand up for civic rights, especially those of women and queer people. Kapalova and her colleagues strive to create a safe space for creative queer people that can support minorities and increase the visibility of female and queer artists in public spaces that have been occupied by men for centuries.

Safemuse is currently, together with Kapalova and MOFA+ preparing a project to highlight the ongoing challenging situation for artists in the Central Asian region and to promote artistic voices that are normally silenced or not given the platform they deserve. If all goes according to plan, then Kapalova will be back in Norway to share her valuable insights and showcase the diversity of artistic works produced in Kyrgyzstan and its neighbouring countries.

Sources:

Interviews with Altyn Kapalova

MoFA+ homepage: https://femmuseum.org/about/en

“Altyn’s response.” ADAMDAR/CA, 4. December 2019, https://adamdar.ca/en/post/altyn-s-response/168?lang=en-US. Accessed 10 May. 2024.

12 November, Album release of “Qaf” by Ghawgha @Nasjonal jazzscene, Oslo

“Qaf” – New album release from Ghawgha

“The Common Enemy” by Nikan Khosravi

Altyn Kapalova – A fearless advocate for feminist & queer art

21 September, “Dancing Into Fire” – Audiovisual performance @National Opera, Oslo

14 September, Concert by Pouya Pour-Amin at the Ultima festival @Trekanten, Oslo

OPEN CALL – Oslo and Hvitsten Art Haven 2025!

Når kunsten er å gjøre motstand

Skal UDI ødelegge for kunsten?

I hope to rediscover freedom of speech

© Safemuse Organisation - Oslo/Norway

News Event

14 September, Concert by Pouya Pour-Amin at the Ultima festival @Trekanten, Oslo

Post author By sina@upnorthfilm.no
Post date September 14, 2024

Safemuse is a non-profit organization dedicated to the fight for artistic freedom.

14th of September, Concert by Pouya Pour-Amin for Ultima Oslo Contemporary Music Festival at Trekanten in Oslo

Pouya at Ultimafestivalen / Photo: Nabeeh Samaan

A special club night for the head as well as the feet. In a commission from Ultima and the Trekanten club venue, Norway’s Fakethias (aka Mathias Humlen) will play with visuals by Felix Scheele. Following a Spellemann prize nomination for his 2023 album Core Echo, Fakethias has become increasingly interested in combining digital noise with live instruments, and enhancing the specific qualities of the space where he is performing, such as the modernistic concrete architecture of the Trekanten-building.

The night also includes a set by Iranian musician Pouya Pour-Amin, making his Norwegian debut. Pour-Amin is a composer, multi-instrumentalist and actor from Tehran, Iran. His harrowing album of abrasive electronic meditations, Prison Episodes, from 2019, explored the experiences of a political prisoner from incarceration to breaking point. The influence of drama and storytelling is evident in his solo album, “Prison Episodes,” where his passion for narrative comes to life. He has been residing in Hvitsten since June 2024 as part of the Safemuse Artist residency.

Saturday, 14 September, at 23:00–01:00 Trekanten
https://www.ultima.no/en/acute

© Safemuse Organisation - Oslo/Norway

Safe Residencies News

OPEN CALL – Oslo and Hvitsten Art Haven 2025!

Post author By sina@upnorthfilm.no
Post date June 13, 2024

OPEN CALL - Oslo and Hvitsten Art Haven 2025!

June 14, 2024

Artistic freedom of expression, solidarity and collaboration

In 2022 Safemuse invited for the first round of safe residency placements in the Norwegian capital, Oslo, in cooperation with Nordic Black Theatre. Two six month residencies open for artists from all over the world and from all artistic disciplines; censored, threatened or persecuted due to their artistic activity. This program continues this year, and two new residence artists are about to arrive in Oslo.

The Oslo Art Haven program is funded by the City of Oslo, and when initiating this program run by Safemuse, the Vice Mayor for Culture in Oslo, Omar Samy Gamas, said:
– We are doing this to support independent voices, and because diversity in the arts is what keeps it vibrant and alive. And we are doing it because freedom of expression is under pressure in many parts of the world.

This year we are now opening a new addition to our work for artistic freedom of expression, giving more endangered artists the opportunity to work in freedom, develop their art and build networks with motivated colleagues: Hvitsten Art Haven. This program, opening up for one additional six month residency pr. year, and is funded by the EU’s EEA program plus local and regional authorities. Hvitsten Art Haven is carried out in collaboration with “Hvitsten Salong”, an art festival institution some 50 km south of Oslo.

– We have been working hard to set up a well-functioning residency program that caters to the individual needs and aspirations of the artists who are selected to partake in the program. The response from organisations, institutions and individuals has been overwhelmingly positive and many have expressed an interest to collaborate with- or contribute to the initiative in various ways, says Jon Lundell, Safemuse’s residence coordinator.

OPEN CALL 2025
Now we open up for new applications. Deadline 14th of July 2024.

Please check out the details HERE

12 November, Album release of “Qaf” by Ghawgha @Nasjonal jazzscene, Oslo

“Qaf” – New album release from Ghawgha

“The Common Enemy” by Nikan Khosravi

Altyn Kapalova – A fearless advocate for feminist & queer art

21 September, “Dancing Into Fire” – Audiovisual performance @National Opera, Oslo

14 September, Concert by Pouya Pour-Amin at the Ultima festival @Trekanten, Oslo

OPEN CALL – Oslo and Hvitsten Art Haven 2025!

Når kunsten er å gjøre motstand

Skal UDI ødelegge for kunsten?

I hope to rediscover freedom of speech

© Safemuse Organisation - Oslo/Norway

News

Når kunsten er å gjøre motstand

Post author By Akari
Post date May 29, 2024

Når kunsten er å gjøre motstand

May 29, 2024

En kunstner er dømt til døden. En stemme skal stilnes. Presteregimet har talt. Den iranske musikeren Toomaj Salehi får ikke leve, han har støttet protestbevegelsen i Iran. Kunsten er en fiende for autoritære regimer verden over, de vet hva kunsten kan skape. Kanskje gjenkjenner de kunstens makt bedre enn her hos oss. Toomaj Salehi, rapper, 32 år skal henrettes, ikke lenger få spre sin kunst. Ikke få løfte sin stemme. I protest. Slik rap alltid har vært protest. Som kunst kan være protest. Motstand. Håp.

Kunstnere er viktige opposisjonelle stemmer i mange land. Kunstnere har stått og står i første rekke sammen med menneskerettighetsforkjempere. De står opp mot krig, vold og autoritære regimer. I Iran, i Belarus, i Myanmar har kunsten og kunstnere formidlet motstand, formidlet folks historier, samlet og styrket fellesskap. Kunstnere viser oss det verden kan bli. Det gir kunsten makt.

Fredsarbeid og arbeid for demokrati kan skje mange steder, men ofte skjer det i eksil. Slik det var for norske myndigheter i England under andre verdenskrig, sørafrikanske stemmer i eksil under Apartheid. I dag samles russiske opposisjonelle ulike steder i Europa og Iranske kunstnere turnerer verden. Ofte kan man støtte organisasjoner og aktivister i deres eget hjemland, der de bor, virker, har familie, der de ønsker å skape endring. Men noen ganger er det nødvendig å hente dem ut, for å gi dem et pusterom, for læringsutveksling, for å skape internasjonale nettverk, for å sikre liv.

Flere kunstner -og menneskerettighetsorganisasjoner får støtte av norske myndigheter for å oppfylle norske mål på menneskerettighetsområdet, og arbeider med å sikre at det finnes uavhengige stemmer. Kunstneriske stemmer, stemmer som roper om vern av miljø, som fremmer kvinners rettigheter, stemmer for skeive, stemmer mot krig, mot autoritære strukturer. Deler av det organisasjonene får støtte til er å invitere utsatte kunstnere, menneskerettighetsforkjempere og studentaktivister til Norge for kortere opphold.

Kunstnere og menneskerettighetsaktivister fra land der de møter særskilt store utfordringer på menneskerettighetsområdet får ofte ikke slike midlertidige tillatelser til å komme inn i Norge. Vi har ikke en politikk for å ta imot folk fra bestemte grupper, mennesker som har freds- og rettighetsarbeid som jobb, de som trenger å arbeide sammen, tett og støttet av andre for å kunne returnere, skape fred, fremtid og gode samfunn.

Organisasjonen Safemuse tar imot kunstnere i begrensede perioder. Låner dem ører, bistår med verktøy og nettverk, samler oss til felles læring, slik at de står sterkere rustet til å kjempe. Dette er mennesker som ønsker å reise tilbake, som har risikert alt for å forsøke å sikre rom for de som er undertrykt. Som er utsatt nettopp fordi de tror så sterkt på individets og fellesskapets påvirkningskraft. Norske myndigheter støtter oss i dette arbeidet, samtidig som de stopper oss fra å utføre arbeidet de betaler for. Når Justisdepartementet med UDI som utøvende organ hindrer oss i å gjøre vårt arbeid, så er det mennskerettighetene og ytringsfriheten som taper.

Musikeren Toomaj Salehi er dømt til døden i Iran. Vi skal gjøre vårt for at hans stemme ikke stilnes.

12 November, Album release of “Qaf” by Ghawgha @Nasjonal jazzscene, Oslo

“Qaf” – New album release from Ghawgha

“The Common Enemy” by Nikan Khosravi

Altyn Kapalova – A fearless advocate for feminist & queer art

21 September, “Dancing Into Fire” – Audiovisual performance @National Opera, Oslo

14 September, Concert by Pouya Pour-Amin at the Ultima festival @Trekanten, Oslo

OPEN CALL – Oslo and Hvitsten Art Haven 2025!

Når kunsten er å gjøre motstand

Skal UDI ødelegge for kunsten?

I hope to rediscover freedom of speech

© Safemuse Organisation - Oslo/Norway

News

Skal UDI ødelegge for kunsten?

Post author By Akari
Post date May 6, 2024

Skal UDI ødelegge for kunsten?

May 6, 2024

Debattinnlegg skrevet av:
Celina Jerman Bright-Taylor (daglig leder i Safemuse) og Heidi Marie Kriznik (programmedarbeider i Safemuse)

For at kunsten skal kunne redde oss, må det legges til rette for det. Økonomisk ja, men også ved å sikre de stemmene som risikerer alt for at kunsten kan leve. Utenriksdepartementet finansierer tiltak som skal bidra til å styrke kunstnere i land der kunsten er under press, men Utlendingsdirektoratet med Justisdepartementet i ryggen opererer med så strenge grenser at det vanskeliggjør jobben.

Menneskerettighetsarbeid er ikke bare en mobilisering mot overgrep, men også en mobilisering for menneskelighet. Og der har kunsten og kunstnerne en rolle. Kunstnerne vår organisasjon bistår, ønsker å komme til Norge for å arbeide kunstnerisk uten frykt for sensur og straff. Men for dem synes muligheten for et residensopphold i Norge fjernt, om ikke umulig.

Safemuse får finansiering fra regjeringen til å invitere kunstnere som er truet, forfulgt eller sensurert i sine hjemland, til Norge for kortere opphold. I Norge får de et pusterom, så de makter å arbeide og kjempe videre. Kunstnerne ønsker å returnere og virke som kunstnere og menneskerettighetsforkjempere i hjemlandet.

Midlene Safemuse mottar er øremerka land der Utenriksdepartementet prioriterer å bidra til økonomisk utvikling og velferd, såkalte ODA-land. Men hvordan oppfylle det målet, når Utlendingsdirektoratet gjør det så vanskelig for kunstnerne å få oppholdstillatelse? Mennesker fra såkalt «asylproduserende» land, uten «returforutsetninger», for å bruke UDI sine termer, kan i mange tilfeller se langt etter oppholdstillatelse.

For å gjøre det vi kan for at kunsten skal redde oss og kunstnere og menneskerettsforkjempere få fortsette det viktige arbeidet, trenger vi at Utenriksdepartementet viser handlekraft og foretar en regelendring. Regjeringen omtaler menneskerettighetene som både mål og middel i norsk utenriks- og utviklingspolitikk, sentralt i det arbeidet står innsatsen for menneskerettighetsforkjempere. Da må det bli mulig å gjøre en innsats for dem. Slik at kunsten og kunstnerne kan redde flere enn oss.

Innlegget ble publisert i Klassekampen den 3. mai 2024: https://klassekampen.no/artikkel/2024-05-03/debatt-skal-udi-odelegge-for-kunsten

12 November, Album release of “Qaf” by Ghawgha @Nasjonal jazzscene, Oslo

“Qaf” – New album release from Ghawgha

“The Common Enemy” by Nikan Khosravi

Altyn Kapalova – A fearless advocate for feminist & queer art

21 September, “Dancing Into Fire” – Audiovisual performance @National Opera, Oslo

14 September, Concert by Pouya Pour-Amin at the Ultima festival @Trekanten, Oslo

OPEN CALL – Oslo and Hvitsten Art Haven 2025!

Når kunsten er å gjøre motstand

Skal UDI ødelegge for kunsten?

I hope to rediscover freedom of speech

Safe Residencies News

I hope to rediscover freedom of speech

Post author By Heidi Marie
Post date March 20, 2024

I hope to rediscover freedom of speech

March 20, 2024

Varun Narain interviewed in BLIKK magazine

Varun Narain is a queer puppeteer and live performance director from India. He combines modern and traditional puppetry and works on articulating gender fluidity and sexuality. Narain has taught Puppetry and contemporary communication at Jamia Millia University for over 10 years, as well as at the Guru Gobind Indraprastha University in New Delhi. Moreover, he has a degree in botany and through his artistry he explores intelligence and survival strategies in the natural world. This month the Norwegian magazine BLIKK, that publish current queer news online, made an interview with Varun Narain. Read it in Norwegian here: I hope to rediscover freedom of speach

12 November, Album release of “Qaf” by Ghawgha @Nasjonal jazzscene, Oslo

“Qaf” – New album release from Ghawgha

“The Common Enemy” by Nikan Khosravi

Altyn Kapalova – A fearless advocate for feminist & queer art

21 September, “Dancing Into Fire” – Audiovisual performance @National Opera, Oslo

14 September, Concert by Pouya Pour-Amin at the Ultima festival @Trekanten, Oslo

OPEN CALL – Oslo and Hvitsten Art Haven 2025!

Når kunsten er å gjøre motstand

Skal UDI ødelegge for kunsten?

I hope to rediscover freedom of speech

Fri Kunst News Safe Havens Safe Residencies

Varun Narain – A universe of puppetry, botany & queer survival

Post author By Akari
Post date March 7, 2024

Varun Narain på Fri Kunst-konferansen 2024. Foto: Jannik Abel

ARTIST-IN-RESIDENCE VARUN NARAIN: A universe of puppetry, botany & queer survival

March 7, 2024

If you find yourself in Oslo between the 10^th and 13^th of March, you have the rare opportunity to experience ‘Dark&Delicious’ by artists Varun and Shaad at Nordic Black Theatre — a unique artistic performance combining botany, poetry and queer survival.

Imagining freedom and inclusion

— I am very much inspired and healed by the world of plants, lichens and fungi and their physical presence in the cites. I believe in blurring physical, mental and biological boundaries, Narain says.

For many years Narain has been working on gender-fluid characters inspired by what he calls the “wood-wide web”. In recent years, Narain has increasingly faced challenges and a restricted space for expression. He experienced censorship due to the themes reflected in his artistic work and is currently one of Safemuse’s artists-in-residence in Oslo.

— As an artist in residence with Safemuse here in Norway, I hope to rediscover free expression and interact with students and artists to create ways to imagine new possibilities of freedom and inclusion, he says.

“I hope to rediscover free expression and interact with students and artists to create ways to imagine new possibilities of freedom and inclusion.”
– Varun Narain, Safemuse artist-in-residence

A universe of puppetry, botany & queer survival

During his residency, Narain has worked on ‘Dark&Delicious’ – a collaborative performance with his artistic partner, actor and poet Shaad. The performance, which combines botany, poetry and queer survival, will be set up between the 10^th and 13^th of March at Nordic Black Theatre in Oslo.

— Having Varun with us, and working with him has been interesting on so many different levels, says Celina Jerman Bright-Taylor, Safemuse’s general manager. Visually interesting, challenging us intellectually, all while being extremely funny. It has been fascinating to get an insight into his creative processes and the stories behind each of his colourful puppets. We are very much looking forward to his performance at Nordic Black Theatre and invite everyone to come see the show!

For the past months, Varun has been enjoying a creative collaboration with Nordic Black Theatre (NBT) and preparing for the performance in Oslo. The artistic director at NBT, Cliff Moustache, is looking forward to presenting ‘Dark&Delicious’ on his stage.

— Very rarely do we get the opportunity to experience such beautiful puppets that convey deep and reflected drama in a simple and sincere way. The narrative grabs and engages thanks to the strong qualities of the artists as the puppet becomes a third artist on stage. At Nordic Black Theatre we want to give them the opportunity to delve deeply into their artistic universe without fear or restricted by authorities.

Tickets for the show can be bought here.

Check out the facebook-event here.

12 November, Album release of “Qaf” by Ghawgha @Nasjonal jazzscene, Oslo

“Qaf” – New album release from Ghawgha

“The Common Enemy” by Nikan Khosravi

Altyn Kapalova – A fearless advocate for feminist & queer art

21 September, “Dancing Into Fire” – Audiovisual performance @National Opera, Oslo

14 September, Concert by Pouya Pour-Amin at the Ultima festival @Trekanten, Oslo

OPEN CALL – Oslo and Hvitsten Art Haven 2025!

Når kunsten er å gjøre motstand

Skal UDI ødelegge for kunsten?

I hope to rediscover freedom of speech

Administration Concert Conference/Meeting Event Fri Kunst Music Freedom Day News Safe Residencies

Fri Kunst dagskonferanse 2024 / Artistic Freedom Conference 2024

Post author By Akari
Post date February 16, 2024

FRI KUNST DAGSKONFERANSE 2024 / ARTISTIC FREEDOM CONFERENCE 2024

February 16, 2024

Fri Kunst konferanse, 1. mars på Riksscenen, Oslo

For tredje året på rad arrangerer Safemuse en dagskonferanse på Riksscenen under Fri Kunst-uken i begynnelsen av mars. Dagen byr på samtaler som setter søkelys på den frie kunsten og kunstneres endringskraft og rolle i samfunnet, i tillegg til kunstneriske innlegg fra en rekke norske og internasjonale kunstnere.

Dagskonferansen fredag 1. mars er åpen og gratis, men krever påmelding innen 26. february 2024. Påmeldingslenke her.

PROGRAM:

11:30 Dørene åpner
12:00 – 12:10 Kunstnerisk innlegg: Mahsa Vahdat og Marjan Vahdat
12:10 – 12:20 Velkomst
12:25 – 12:35 Åpningstale: sametingspresident Silje Karine Muotka
12:35 – 12:45 Kunstnerisk innlegg: Don Martin
12:45 – 12:55 Kunstnerisk innlegg: Varun Narain
13:00 – 13:50 Panelsamtale I: Kunstens kraft og rolle som samfunnsendrer i Norge og verden (samtalen vil foregå på norsk)
– Øystein Strand, avdelingsdirektør for Kunstnerisk produksjon og formidling, Kulturdirektoratet
– Silje Karine Muotka, president, Sámediggi / Sametinget
– Cliff Moustache, kunstnerisk leder, Nordic Black Theatre
– Moderator: Yohan Shanmugaratnam, journalist og forfatter
13:50 – 14:10 Pause
14:10 – 14:20 Kunstnerisk innlegg: Viktor Bomstad
14:20 – 15:10 Panelsamtale II: Kunstnersamtale om kunst og endringskraft (samtalen vil foregå på engelsk)
– Masha Vahdat, sanger og komponist
– Varun Narain, dukkemaker/dukkefører og Safemuse residenskunstner
– Viktor Bomstad, landsdelsjoiker for Troms og Finnmark
– Jannik Abel, fotograf og billedkunstner
– Moderator: Nosizwe Baqwa, artist, aktivist og styremedlem i Safemuse
15:15 – 15:30 Presentasjon: Safemuse Art Havens
15:30 – 15:40 Kort oppsummering
15:40 – 16:00 Pause / omrigg
16:00 – 16:30 Tverrkunstnerisk mini-forestilling: Hooman Sharifi og Arash Moradi
16:30 – 17:30 Sosialt samvær med bevertning

VELKOMMEN

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Artistic Freedom Week Conference, 1st of March at Riksscenen in Oslo

For the third year in a row, Safemuse organises a full-day conference at Riksscenen during Artistic Freedom Week in the beginning of March. The program includes talks that focus on art and artists’ roles and power to change society, in addition to artistic interventions from a number of Norwegian and international artists.

The conference is an open event and free of charge, but requires registration by 26 February 2024. Registration link here.

PROGRAM:

11:30 The doors open
12:00 – 12:10 Artistic intervention: Mahsa Vahdat and Marjan Vahdat
12:10 – 12:20 Welcome
12:25 – 12:35 Opening speech: President of the Sámi Parliament Silje Karine Muotka
12:35 – 12:45 Artistic intervention: Don Martin
12:45 – 12:55 Artistic intervention: Varun Narain
13:00 – 13:50 Panel discussion I: The power of art and its capacity for change, in Norway and the world (the conversation will take place in Norwegian)
– Øystein Strand, department director for artistic production and communication
– Silje Karine Muotka, president, Sámediggi / Sámi Parliament
– Cliff Mustache, artistic director, Nordic Black Theatre
– Moderator: Yohan Shanmugaratnam, journalist and author
13:50 – 14:10 Break
14:10 – 14:20 Artistic intervention: Viktor Bomstad
14:20 – 15:10 Panel conversation II: Artist conversation about art and its power to bring about change (the conversation will take place in English)
– Masha Vahdat, singer and composer
– Varun Narain, puppeteer and Safemuse artist-in-residence
– Viktor Bomstad, regional joiker for Troms and Finnmark
– Jannik Abel, photographer and visual artist
– Moderator: Nosizwe Baqwa, artist, activist and board member of Safemuse
15:15 – 15:30 Presentation: Safemuse Art Havens
15:30 – 15:40 Closing remarks
15:40 – 16:00 Break / rearrangement
16:00 – 16:30 Mini-performance: Hooman Sharifi and Arash Moradi
16:30 – 17:30 Social gathering with refreshments

WELCOME

12 November, Album release of “Qaf” by Ghawgha @Nasjonal jazzscene, Oslo

“Qaf” – New album release from Ghawgha

“The Common Enemy” by Nikan Khosravi

Altyn Kapalova – A fearless advocate for feminist & queer art

21 September, “Dancing Into Fire” – Audiovisual performance @National Opera, Oslo

14 September, Concert by Pouya Pour-Amin at the Ultima festival @Trekanten, Oslo

OPEN CALL – Oslo and Hvitsten Art Haven 2025!

Når kunsten er å gjøre motstand

Skal UDI ødelegge for kunsten?

I hope to rediscover freedom of speech

"Qaf" - Ghawgha releases new album

— Ultimately, “Qaf” is a quest for finding home, identity, and humanity; perhaps the place we all belong to and are seeking the peace hidden within these sounds and experiences.

© Safemuse Organisation - Oslo/Norway

"The Common Enemy"

- Violations Against Metal Bands: Reasons Beyond Religion

© Safemuse Organisation - Oslo/Norway

Altyn Kapalova — A fearless advocate for feminist and queer art

When I applied for the Hvitsten art residency, I wanted some peace and time for myself. I wanted to reclaim myself as an artist.

© Safemuse Organisation - Oslo/Norway

14th of September, Concert by Pouya Pour-Amin for Ultima Oslo Contemporary Music Festival at Trekanten in Oslo

Pouya at Ultimafestivalen / Photo: Nabeeh Samaan

© Safemuse Organisation - Oslo/Norway

OPEN CALL - Oslo and Hvitsten Art Haven 2025!

Artistic freedom of expression, solidarity and collaboration

© Safemuse Organisation - Oslo/Norway

Når kunsten er å gjøre motstand​

© Safemuse Organisation - Oslo/Norway

Skal UDI ødelegge for kunsten?

Debattinnlegg skrevet av: Celina Jerman Bright-Taylor (daglig leder i Safemuse) og Heidi Marie Kriznik (programmedarbeider i Safemuse)

© Safemuse Organisation - Oslo/Norway

I hope to rediscover freedom of speech

Varun Narain interviewed in BLIKK magazine

© Safemuse Organisation - Oslo/Norway

ARTIST-IN-RESIDENCE VARUN NARAIN: A universe of puppetry, botany & queer survival

If you find yourself in Oslo between the 10th and 13th of March, you have the rare opportunity to experience ‘Dark&Delicious’ by artists Varun and Shaad at Nordic Black Theatre — a unique artistic performance combining botany, poetry and queer survival.

Imagining freedom and inclusion

“I hope to rediscover free expression and interact with students and artists to create ways to imagine new possibilities of freedom and inclusion.”

– Varun Narain, Safemuse artist-in-residence

© Safemuse Organisation - Oslo/Norway

FRI KUNST DAGSKONFERANSE 2024 / ARTISTIC FREEDOM CONFERENCE 2024

Fri Kunst konferanse, 1. mars på Riksscenen, Oslo

Artistic Freedom Week Conference, 1st of March at Riksscenen in Oslo

© Safemuse Organisation - Oslo/Norway

Når kunsten er å gjøre motstand

Debattinnlegg skrevet av:
Celina Jerman Bright-Taylor (daglig leder i Safemuse) og Heidi Marie Kriznik (programmedarbeider i Safemuse)

If you find yourself in Oslo between the 10^th and 13^th of March, you have the rare opportunity to experience ‘Dark&Delicious’ by artists Varun and Shaad at Nordic Black Theatre — a unique artistic performance combining botany, poetry and queer survival.