Category: News

Eddie Htet Aung Lwyn: A Dose of Survivor’s Guilt, Recurrent Frustration, and Moments of Overcoming

Post author By Kate
Post date August 13, 2025

Eddie Htet Aung Lwyn: A Dose of Survivor’s Guilt, Recurrent Frustration, and Moments of Overcoming

August 13, 2025

Written by Kate Ngan Wa Ao

“Artistic Freedom for me is to create despite the government and the powers that be. It is honouring the purest part of a person who wants to create and speak truthfully to oneself. It has now become a privilege, even though it should not be. But it is a privilege I embrace with a dose of survivor’s guilt, recurrent frustration, and eventual brief overcoming of it.”
— Eddie Htet Aung Lwyn

Eddie Htet Aung Lwyn (they/them), born in 1998 in Myanmar, have been in our residency programme Oslo Art Haven since June 2025. Eddie is a storyteller who works primarily with the languages of cinema and photography, though they identify first and foremost as a writer. Their work explores the complexities of gender and sexuality, as well as the transformation of identity through experimental storytelling.

Before 2021, Eddie gained experience working across various organizations and media platforms, including &Proud, a queer organization that celebrates LGBTQ+ lives and advocates for the decriminalization of homosexuality in Myanmar. In 2021, as the political situation in Myanmar deteriorated following the military coup, Eddie fled to Thailand with support from local organizations. They settled in Bangkok, where they began supporting newly arrived Burmese dissidents. They also worked as a researcher at Global Voices from the 2020 elections in Myanmar until 2023.

— I was doing all kinds of jobs in different organizations, researcher, translator, and more, because that was how I could justify leaving home while still feeling like I was contributing. I focused more on community work with other dissidents from Myanmar, as it felt more immediate and urgent. I put my creativity aside for as long as I could, until I no longer could. At the end of 2021, I quit most of my jobs to become a full-time artist, Eddie says.

In 2022, Eddie created a photography project titled Weight, which explored themes of displacement, survivor’s guilt, the burden of political unrest, and their own identity crisis at the time. The project was a success and has been exhibited globally.

They have since completed three short films: Return to Sender (2020), Where the River Ends (2023), and JuJu vs.The Possibilities of Life, Love, and Death? (2024). These films have been screened internationally at different film festivals

Telling Stories of Home From Afar

The stories in Eddie’s films are always set in Myanmar. However, since filming there is no longer possible, they are brought to life in Thailand. This raises a painful question: How does one create work about home while being forced to live away from it?

Eddie grew up in a community-oriented society, and being in a collective environment remains deeply important to them. Eddie would make a deliberate effort to involve Burmese people in their film crews, as many Burmese artists and filmmakers were also exiled to Thailand.

— When I am making a film, I am fully aware that it is not Myanmar, even though the story is set there. For example, in Where the River Ends, we filmed in a forest in Thailand. Because it was in a forest, it made us think: “This could be Myanmar, if we believed it.” That brought a sense of comfort. And that feeling only really came alive because we had Burmese people on the crew. I could hear the Burmese language around me all the time, and for a moment, it felt like home, Eddie recalls.

Leaving Home, Finding Self

In Myanmar, homosexuality and transgender remain criminalized under Section 377 of the Penal Code, a colonial-era law introduced by the British rule in the 19th century. Still in force today, it carries a punishment of up to 10 years in prison.

After leaving Myanmar, Eddie began to experience a sense of freedom from the country’s deeply homophobic policy and environment, but that freedom came at a cost, leaving behind the Burmese people, leaving home.

— It felt like two separate journeys happening simultaneously. Yes, I had to leave home; it was devastating, and living in exile carries a heavy burden of survivor’s guilt. But at the same time, I am finally able to dress how I want and be who I am as a queer person. Part of me feels liberated, safer, and freer. I am becoming a truer version of myself. And thankfully, along the way, I also found my community with other queer Burmese people in exile, Eddie says.

This dual experience of navigating identity, freedom, and belonging deeply informs Eddie’s work. For example In their film JuJu vs The Possibilities of Love, Life & Death? (2024). The story follows the protagonist JuJu, a Burmese trans femme working at an independent cinema in Bangkok. While there, she encounters another Burmese man, who may or may not have romantic feelings for her. What unfolds is a series of conversations and imagined scenarios in JuJu’s mind, exploring the power of queer representation in mainstream media, queer identity, stereotypes, and the search for love.

New Film Project – Explores Privilege

Eddie said the calm of Oslo is much needed after four years of chaos in Bangkok. They want to use this opportunity to focus on researching and developing the script for their first feature-length film, a thriller set in the 1940s during British colonial rule in Myanmar.

This project explores the complexity of colonization and its dichotomy: between the local who remains oppressed, and the fellow Burmese who returns from abroad, now seen as an outsider. Eddie explains:

— As one of the colonized, people are clearly oppressed, but within that, some start to see the colonizers as the model of ‘success.’ They start to learn their language, work with them, adopt their ways, and often get rewarded with privilege. In British-ruled Myanmar, many Burmese people worked alongside the British. They were given homes, education, and some were even sent abroad to study in England. My question is: does this make them less Burmese?

— While exploring this idea of privilege. I think about my own journey. My artistic career is, in part, ‘elevated’ because my people are being oppressed. If that weren’t the case, would anyone care what I have to say? Am I where I am because of my and my people’s trauma? I guess that is also one of the sources of my survivor’s guilt.

Freedom, Guilt, Heal

Feeling guilty is a complicated and often experienced emotion among exiled artists. Many carry a deep sense of guilt for being away from their homeland. For Eddie, this was no different. Does being an artist help ease survivor’s guilt, or does survivor’s guilt stem from being an exiled artist in the first place?

When Eddie first arrived in Thailand in 2021, survivor’s guilt became their main motivation for making art. It felt less like a choice and more like an urgent necessity. Eddie describes it as almost a physical response, like throwing up, an intense emotional release. They had no other choice but to make art to survive the heaviness they carried. That was when the photography project Weight was born.

— The survivor’s guilt is kind of the cause and the consequence. As an artist, I process my emotions through my art; that is how I cope with what is happening in the world. Guilt kind of pushed me forward. And frankly, in this industry, I would not be where I am without my guilt, because it was once my fuel to make work, Eddie reflects.

But now, Eddie seems to have found a new way to motivate their artistic practice, one rooted in acceptance and the celebration of community.

“Do I still feel survivor’s guilt? Yes, of course. But my motivation has shifted. Now, I want to create art as a celebration of being alive, of having survived, of being in community. I like to call it radical joy, because we all need it.“
— Eddie Htet Aung Lwyn

When asked how to find one’s way through freedom, guilt, and healing, Eddie believes there is no simple answer, as it is an extremely complicated matter, and everyone’s situation is different.

— I wish there were a formula for how to navigate the dilemma of freedom and survivor’s guilt. But there isn’t. Everyone navigates the world in their own way. Some focus on building a career or financial stability, and that is valid; others may feel a strong desire to return home and contribute there, and that is valid, too. Because every experience is valid… Eddie shares.

“Everyone navigates the world in their own unique way. We are all just doing the best we can with what we have.
We all heal in our own time.“
— Eddie Htet Aung Lwyn

Safemuse is looking forward to continuing our collaboration with Eddie and supporting their creative work during their residency with us.

© Safemuse Organisation - Oslo/Norway

News Project Safe Havens Safe Residencies

Saba Pouyeshman: Rewriting the spell, from supperssion to imagination

Post author By Kate
Post date July 8, 2025

Saba Pouyeshman: Rewriting the spell, from suppression to imagination

July 8, 2025

Written by Kate Ngan Wa Ao

Saba Pouyeshman was born in Karaj, Iran, in 1997 and grew up in a large family. She discovered her passion for acting at a young age, often dressing up and improvising for hours, creating characters. Acting has been a way for her both to connect with the world and to disconnect from it when it becomes overwhelming; it creates a unique safe space for her.

Saba studied Cinema and Screenwriting at university in Iran, but her passion for acting never faded. She eventually pursued a career in theater. After working as an actress for nearly a decade, her journey was challenged by the harsh realities of censorship and the suppression of creative freedom. While working in Iranian theater, she experienced firsthand how freedom of expression was often manipulated as a tool of propaganda. Performance content and dress codes were strictly controlled, making it increasingly difficult for Saba to continue her work.

— When I was working in the theatre in Iran, I was often asked and forced to change my clothing not based on my character’s story, but solely to comply with the Islamic Republic’s strict dress codes, covering my hair and any exposed skin. I was constantly in conflict with myself while performing; I felt like a liar. The more I acted, the more suffocated I felt. Saba says.

— I developed a deep anger toward the endless, senseless limitations placed on artistic freedom. These obstacles not only affect individuals, but they also shape narratives, enforce propaganda in art, and destroy valuable cultural expression. I stepped away from acting, overwhelmed by depression. Saba recalls.

“For a couple of years, I felt disconnected from all art forms. Being an artist under censorship and suppression often felt hopeless. But thankfully, art is more powerful than any dictatorship; it is part of what makes us human and cannot be silenced so easily. Slowly, the spark within me was reignited through a new artistic practice.“
— Saba Pouyeshamn

Where Art Could Begin Again

Saba and another multidisciplinary Iranian artist, Pouya Pour-Amin, participated in Safemuse’s Safe Haven artistic residency program in Hvitsten in the spring of 2024 together, organised in collaboration with local partner Hvitsten Salong. Later, they spent the second part of their residency in Oslo, in collaboration with Nordic Black Theatre.

In Tehran, where she lived in an apartment surrounded by some hostile neighbours who supported the regime, Saba was under constant threat and anxiety, and was close to losing the strength to be an artist. But after moving to Hvitsten, she found herself inspired by the landscape and nature, and since then, she has spent nearly every drawing and painting.

“From Tehran to Hvitsten, from a small, tense apartment to a beautiful house in the woods, right beside the fjord. From hostile, watchful neighbours to the amazing, open-hearted, and warm community of Hvitsten. This shift made me want to be bold and free in my art again. I was finally able to relax and create, says Saba. “
— Saba Pouyeshman

Saba’s drawings were exhibited at Hvitsten Salong in 2024. The residency coordinator at Safemuse and the director of Hvitsten Salong, Jon Lundell, welcomed her and Pouya to their local community. He recalls:

— Saba, who has a multidisciplinary background, worked in several different art forms at Hvitsten Art Haven. She has a prominent role as an actress in the making of the play Prison Episodes together with Pouya Pouramin, and she has also been exploring and working more comprehensively with drawings.

— Both Saba and Pouya were a delight to have in Hvitsten! It is not always easy to come into a new reality in a small community like this, but their personalities, presence, warmth, and genuine interest in other people made it a simple joy to work with and facilitate.

Reborn in Dark Mytholog

After a temporary farewell to acting, Saba became interested in the theoretical side of art, particularly art history. She studied The History of Modern Art and The History of Modern Sculpture independently, and researched motifs in Iranian fabrics and pottery, as well as modern painting in Iran. These studies of visual traditions and symbolism, especially those rooted in mythology, have become the main inspiration for her artistic work now.

During her artist residency in Norway, Saba developed a new way to connect her past and present, merging performance and visual art into a distinctive practice. She once again dressed up as characters, but this time used her body and gestures not only as expressive tools, but also for mark-making, storytelling, and reclaiming her voice through the whole process of image-making.

— For example, in Fairy Invoker, I draw from Iranian folklore about the Fairy Caller, who traps fairies for good or bad purposes, some to save the world, others to destroy it. I imagine myself as one of these trapped fairies, each carrying different emotions and stories: fleeing, struggling, angry, calm, or meditative. I set up my camera to capture my movements and gestures as those fairies. Later, I drew the characters I once created and performed, Saba says.

— This is where my artistic practice lives, connected with storytelling, memories, and folklore. I want to explore what lies between reality and the supernatural; the visible and the invisible; the spoken and the unspoken. My performances are based on imagination, ancestral ghosts, childhood fears, and playful spirits. For me, life is aligned with magic, talismans, jinns, demons, fairies… Saba says.

Myth, Wonder, and New Beginnings

Saba has many dreams to fulfill and continues to look forward. Now being in Norway, she is excited to learn more about Norse mythology, not just through books, but through the landscape, people, and living traditions. One of her artistic goals is to explore stories from the dark realms of mythology through different artistic media. She is deeply drawn to the mysterious, magical, and sometimes eerie elements of folklore and believes these stories hold powerful potential, not to frighten, but to inspire imagination, strength, and curiosity. Her goal is to create work that speaks to a raw and honest sense of wonder, inviting deeper questions and new ways of thinking.

— Mythological stories have the power to plant a seed of doubt, and I believe doubt is a beautiful and essential part of life. It’s often the first step toward thinking differently, asking deeper questions, and ultimately creating something new. Doubt opens the door to wonder, and through my art, I want to offer that door to others, says Saba.

Since July 2025, Saba has joined Safemuse as part of the Aspirant Scheme, a fellowship supported by Arts Council Norway. The programme will provide her with opportunities to gain experience in the arts and culture field, while also supporting her development as an artist. She will be working with Safemuse as well as other organisations and festivals, including Hvitsten Salong, Nordic Black Theatre, Empowering Voices, and JM Norway, with exciting possibilities for new collaborators to join along the way.

We are very much looking forward to continuing our collaboration with Saba and witnessing how she shares her magical spirit with the world.

© Safemuse Organisation - Oslo/Norway

News Project Safe Havens Safe Residencies

Pouya Pour-Amin: An artist’s journey from fear to freedom

Post author By Akari
Post date June 20, 2025

Pouya Pour-Amin: An artist’s journey from fear to freedom

June 20, 2025

Written by Akari Izumi Kvamme

Pouya Pour-Amin is a multidisciplinary artist with over twenty years of experience in music, composition, sound design and performance. Born in Tehran in 1983 into a family that worked in the arts, Pouya grew up in a creative environment. His mother was a puppeteer and actress, his father was a cinematographer, and his grandfather was an instrumentalist who played the tar – a traditional Iranian string instrument. Pouya began learning music when he was five years old and by his late teens he was making his own music.

As a university student, he began to study computer science, music and theatre, but dropped out three times because he felt that the studies and academic system did not have much to offer him. He continued to study through self-learning and private teachers. Pouya played the guitar, but his love for the low frequencies led him to take up the double bass, which he coincidentally discovered while studying at the Tehran Conservatory. Later Pouya joined the contemporary chamber orchestra, The Camerada Orchestra, where he spent a decade of tremedous musical growth under the guidance the conductor Kayvan Mirhadi, who had also been his musical teacher. His very first works as a composer were performed by Mirhadi’s orchestra.

Looking back, Pouya’s grandfather, Akbar Jeddikar, and the conductor of the Camerada Orchestra, Kayvan Mirhadi, were his biggest inspirations growing up:

— They were both very special people to me, opened my eyes to the worlds of music and literature and became my window to the world beyond the strict religious Iranian society, he says.

— My grandfather first of all influenced me as a human being. He was not religious and did not believe in God, something which was very rare for his generation and in Iranian society in general. We had a very close relationship. He was open-minded and introduced me to politics and critical thought through his vast collection of literature. Kayvan Mirhadi, the conductor, was also my classical teacher, but did not have the dogma-point-of-view that most educators had. Instead he was wise and had an open view to the arts and to different kinds of music. He introduced me to Western contemporary music, which opened my eyes and made me realise that there was so much to explore and learn, Pouya recalls.

“While living in Iran, I worked a lot in fear. I had to find secret ways, like put my phone in the microwave to avoid being tapped, and I lived under the constant fear of getting in trouble with the authorities.”
— Pouya Pour-Amin

The struggle for artistic freedom

Artists in Iran who refuse to stay silent in the face of the country’s authorities and current sociopolitical situation pay a high price for their expression. Over the last years, the Iranian government has taken on increasingly harsh measures to suppress artistic freedom of expression and exert control over artists through threats, censorship and persecution.

Pouya laments the ongoing situation in his homecountry whereby artists, writers and journalists are frequently subjected to superveillance, interrogations, detention, imprisonment, torture, and even the death penalty to punish those who dare to question or criticise the system. Pouya has many friends and colleagues who have received death threats, been forced to flee the country and live in exile. He, too, has felt the heavy burden of being an artist without freedom of expression.

— While living in Iran, I worked a lot in fear. I had to find secret ways, like put my phone in the microwave, to avoid being tapped and I lived under the constant fear of getting in trouble with the authorities. Sometimes I chose not to put my name on my work to avoid getting in trouble. The thought that someone could call the door bell to detain me, plant evidence and present untrue allegations was constantly in the back of my mind, he says.

Pouya used to work with different people from various creative industries in Iran, but in his first act of conscious political reaction, he decided to stop working with TV and cinema because he felt like the cultural scene was corrupted and a channel for propagating the state’s lies. He began to work with theatre, but it became evident that this industry, too, was a corrupted sphere. In a culture where questioning and confronting was highly discouraged, Pouya refused to be silenced and raised the question of why the industry did not pay its artists properly. After he took to the street and joined the marches during the Green Movement in 2010, Pouya was imprisoned twice. During the Woman, Life, Freedom movement in 2022, Pouya again took to the streets to partake in the demonstrations that were televised across the world, and felt the fear more than ever before.

— Artistic freedom for me is twenty years of struggling with propaganda, with censorship and a corrupted economy, he says. Even when you are independent, you are at risk if you want to raise questions about politics, the regime or religion, human rights. And it’s only getting worse and worse.

“To have artistic freedom now is a totally new feeling for me. I didn’t know how it would feel. When I look back at this short period I have worked in freedom, I can see that things have started changing in the ways that I think and create art.”
— Pouya Pour-Amin

From prison to Safe Haven and the rebirth of an artist

Since 2011, Pouya has expanded his work to include theatre, juggling the roles of musician, actor and director. His music has gradually transitioned into the more experimental and electronic realms. In May of 2024, he travelled to Norway to partake in Safemuse’s Safe Haven artistic residency program. The first part of his artistic residency was spent in the idyllic coastal town of Hvitsten, organised in collaborations with our local partner Hvitsten Salong. Thereafter, Pouya has spent the second part of his residency in Oslo, in collaboration with our partner Nordic Black Theatre.

Through the Safe Haven program, Pouya has continued to evolve as a multidisciplinary artist and developing his creative practice through a blend of music, performance and theatre. Since arriving in Norway as an artist-in-residence, he has composed several works and performed at Ultimafestivalen – the largest contemporary music festival in the Nordic region, as well as Hvitsten Salong and at Caféteatret.

— When I arrived Norway and could breathe out after so many years of living in a state of exception and survival mode, I also realised that I was worn-out after having denied and neglected my own needs and wellbeing. I realised the constant fear I had been living under and how worn-out I was. Living in Hvitsten surrounded by beautiful nature, I was for the first time feeling everything I had not had the chance to feel prior to arriving Norway, especially related to my experience in prison and how hard it had actually been, Pouya says.

The residency coordinator in Safemuse Jon Lundell, is one of many that have worked with Pouya since his arrival to Norway and been impressed by his dedication, versatility and courage to explore new artistic directions:

— Pouya have been exploring and digging deeper in composing new music for different scenes in Oslo and Hvitsten; commissioned work that has challenged him to seek new ways of composing and combining digital and analog instruments and sounds. He has also taken the work with his play Prison Episodes further and is developing it with different artists and partners.

In 2015, Pouya released his first album “Lullaby and Down the Quod” based on his own experience as a political prisoner. His second album, “Prison Episodes” (check out the Bandcamp link), which was released in 2019, was inspired by his study of other Iranian prisoners’ experiences. During his residency in Norway, Pouya’s main artistic ambition is to complete his project Prison Episodes which he has been developing over many years. Together with Safemuse, partners and other artists, Pouya is planning a multidisciplinary performance that combines music, dance, theatre and visual technology to tell the story of the tragedy of political prisoners and their subjection to torture, suffering, solicitations and death. On top of that, he has also begun to record a new album, which he hopes to release in 2026.

Pouya says he has learned a lot of things through the Safemuse residency, not just artistically, but about life and himself:

— I love my culture and I cannot cut that string, but now I am in a position to decide how I want to work with it and to tell my story. To have artistic freedom now is a totally new feeling for me. I didn’t know how it would feel. When I look back at this short period I have worked in freedom, I can see that things have started changing in the ways that I think and create art. When you no longer have barriers in your mind, you starts to think differently and your passions start changing. With no imposed limitations, I think my artistic language has already started to change. I feel like the blinds are gone. While I have been working on my newest album, I can see that I am going in new directions that I would never have imagined before.

Safemuse looks forward to continue the collaboration with Pouya and share more about his upcoming events and projects!

Eddie Htet Aung Lwyn: A Dose of Survivor’s Guilt, Recurrent Frustration, and Moments of Overcoming

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

Saba Pouyeshman: Rewriting the spell, from supperssion to imagination

Pouya Pour-Amin: An artist’s journey from fear to freedom

Meet our newest staff members

Meet our newest staff member

Safemuse søker programmedarbeider

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

Menu Close Safemuse – 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

– 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

“The Common Enemy” by Nikan Khosravi

Altyn Kapalova – A fearless advocate for feminist & queer art

© Safemuse Organisation - Oslo/Norway

Administration News

Meet our newest staff members

Post author By Kate
Post date May 27, 2025

Meet our new staff members

May 27, 2025

Hilde Louise Asbjørnsen and Aliona Pazdniakova

Hilde Louise Asbjørnsen and Aliona Pazdniakova are Safemuse’s newest staff members. Hilde Louise and Aliona started working in May and will take part in Safemuse’s projects and activities until spring 2026.

Aliona Pazdniakova has a multidisciplinary background within visual art, photography, and philosophy. Process-oriented and versatile in its character, her practice resembles visual research, where she connects artistic and philosophical languages. In her works, she tries to dissect the cultural construct of collective identity, focusing on unveiling the modern versions of ideological formations, as well as the mechanisms behind contemporary mythologies. Aliona holds an MA in Traditional Arts and a BA in Philosophy and Social Sciences from universities in Norway and Belarus. She worked as a photographer, participated in exhibitions both locally and abroad, contributed philosophical texts to several anthologies, and was a guest teacher at the art academy and different cultural institutions.

What does artistic freedom mean to you?

As an artist, I am convinced that artistic freedom is an immanent feature of art as a phenomenon. It is unlimited and boundaryless. In the artistic process, ideas and feelings are supposed to be unrestrained. No matter they are perceived as beautiful or ugly, no one can control them, not even the artist. Another definition appears when we deal with exposure and presentation. In this case, we talk not about art, but about power, political or social. As a citizen, I see artistic freedom as a part of freedom of expression, which is one of the fundamental democratic values.

My experience of living and working in both Belarus and Norway, shows that artistic freedom of expression is under threat not only in totalitarian regimes, but also in democratic countries. Propaganda, censorship, and self-censorship, in direct or camouflaged forms, are used by different ideologies as power mechanisms to suppress the freedom of expression. That is why it is significant to resist the patterns of power misuse and strengthen strategies for protecting basic human rights. Art is an essential engine in this process, which suggests alternative perspectives in reflecting on political and existential problems. I am thrilled to have an opportunity to contribute to the meaningful task of Safemuse to support artists in danger, and with this to promote artistic freedom of expression, solidarity, and integrity.

Hilde Louise Asbjørnsen is a singer, songwriter, actress, and author with two decades of experience in producing, touring, administrating, and promoting art. After studying Theatre Science at the University of Oslo, she started her own record label, and till now she has released 13 albums of her own, in addition to the work of other artists. Her latest project «Stardust» is a tribute to 8 female artists from the last century, celebrating their struggle and success through gender, class, and racial discrimination.

What does artistic freedom mean to you?

I believe that artistic freedom is fundamental for all human beings. Art brings and confirms the meaning of life, and it helps us understand our heritage and history in this world. Being able to create without restrictions, and communicate and educate each other through art is a human right, and it is growing more vulnerable day by day. I was lucky to be born in Norway, being able to work freely for all these years, and in these times, I am grateful to be able to contribute to protecting, promoting, and nurturing artistic freedom through Safemuse.

Eddie Htet Aung Lwyn: A Dose of Survivor’s Guilt, Recurrent Frustration, and Moments of Overcoming

Saba Pouyeshman: Rewriting the spell, from supperssion to imagination

Pouya Pour-Amin: An artist’s journey from fear to freedom

Meet our newest staff members

Meet our newest staff member

Safemuse søker programmedarbeider

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

© Safemuse Organisation - Oslo/Norway

News

Meet our newest staff member

Post author By Akari
Post date April 2, 2025

Meet our newest staff member

April 2, 2025

Kate Ngan Wa Ao joined the Safemuse team at the end of March - Photo credit: Kate Ngan Wa Ao.

We are happy to present Safemuse’s newest staff member, Kate Ngan Wa Ao who joined our team at the end of March. Kate was an artist in residency with Safemuse in 2023, and returned to Norway in the fall of 2024 as an intern in Safemuse.

Kate Ao is an artist with a background in photography, filmmaking, video, and object art. She completed her art studies, including a practice-based PhD in art in Poland. Her artistic practice often engages with archives and everyday objects to explore complex identities in the contemporary political era and examine how these elements might serve as testimonies of history in the future.

What does artistic freedom mean to you?

– For me, artistic freedom is a fundamental human right. Unfortunately, this right is being increasingly restricted in different parts of the world. At the same time, these restrictions highlight the power of artistic expression and its ability to create new knowledge, encourage questioning, foster empathy, reveal truth, and strengthen solidarity in society. This is why oppressive regimes often try to silence it. Protecting artistic freedom is just as important as defending any other human right.

– As an artist myself, I am excited to have the opportunity to work toward the promotion and protection of artistic freedom; I look forward to providing our artists-in-residence with safe platforms to share their works, ideas, values, and experiences with the world.

Eddie Htet Aung Lwyn: A Dose of Survivor’s Guilt, Recurrent Frustration, and Moments of Overcoming

Saba Pouyeshman: Rewriting the spell, from supperssion to imagination

Pouya Pour-Amin: An artist’s journey from fear to freedom

Meet our newest staff members

Meet our newest staff member

Safemuse søker programmedarbeider

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

© Safemuse Organisation - Oslo/Norway

Administration News Project

Safemuse søker programmedarbeider

Post author By Akari
Post date February 28, 2025

Safemuse søker programmedarbeider

February 28, 2025

Photo Description - Photo credit: Photographer name

Meningsfylt arbeid med spennende og varierte oppgaver i et internasjonalt miljø

Da vår kollega skal ut i permisjon søker vi en fleksibel, engasjert, selvgående medarbeider med gode samarbeidsevner i 100% stilling til et ettårig engasjement, med mulighet for forlengelse fra mai/juni 2025.

I våre faste residenser tar vi imot truede, forfulgte og sensurerte kunstnere og følger dem opp både faglig og personlig. Vi skal bidra til at kunstnerne i residensopphold får forutsigbare og gode arbeidsforhold, og får utviklet og presentert sin kunst. I tillegg har vi flere prosjekter knyttet til kunstnerisk ytringsfrihet. Programmedarbeideren skal bidra i våre ulike prosjekter og til utviklingen av residensprogrammet med visninger, samtaler, workshops, konserter og forestillinger for barn og unge og det generelle publikum. Enkelte kommunikasjons- og administrasjonsoppgaver vil også inngå i stillingen. Man må påberegne ansvar også for andre oppgaver etter behov.

Vi ønsker oss en kollega som kan utgjøre et positivt tilskudd til innsatsen vår for den kunstneriske ytringsfriheten. Vi er en liten administrasjon med et aktivt styre der det er stor plass for kreativitet og nye løsninger. Vår aktivitet omfatter trygge residenser for kunstnere, enkeltarrangementer, kunstneriske visninger, innspillinger og dokumentasjon, politisk påvirkningsarbeid, samt annet som kan bidra til å styrke den kunstneriske ytringsfriheten for enkeltkunstnere og i samfunnet for øvrig. Å sørge for finansiering til dette er en vesentlig del av vårt arbeid.

Personen vi søker har bakgrunn fra kunstfeltet og har et engasjement for ytringsfrihet, menneskerettigheter og internasjonale forhold. Vi vektlegger også internasjonal erfaring.

Det er viktig at vår nye medarbeider har en forståelse for fleksibiliteten som kreves når man driver residens og kan håndtere uventede situasjoner og endringer på en god måte. Personen vi ansetter må kunne arbeide godt i team og være lydhør og tillitsskapende i møtet med kunstnere fra svært ulike bakgrunner og forskjellige land. Fleksibilitet og forståelse i møte med kunstnere fra alle deler av verden og resten av teamet er essensielt.

Du bør ha solid formuleringsevne på norsk og engelsk, både muntlig og skriftlig.

Programmedarbeiders oppgaver inkluderer, men er ikke begrenset til

Bidra inn til residensene praktisk og kunstfaglig
Bidra til utvikling av vårt kunst- og samfunnsprogram gjennom workshops for kunstnere, samtaler, visninger og konserter rettet mot et bredere publikum.
Fasilitere produksjon av kunst i ulike former med våre samarbeidspartnere
Bidra til å skape, tilrettelegge og utvikle visninger og konserter i samarbeid med residenskunstneren, residenskoordinator og andre prosjektdeltakere
Rapportering, budsjett og søknader knyttet til ansvarsområdet
Knytte kunstneren opp mot faglig nettverk.
Administrasjon

Bakgrunn og kvalifikasjoner

Bred kunstfaglig bakgrunn, Kunstfaglig kompetanse og/eller erfaring gjennom feks eget kunstnerisk virke eller gjennom å kuratere, organisere eller produserer kunstfaglige eller kunstneriske prosjekter.
Stort nettverk i norsk kunst og kulturliv
Internasjonal erfaring er en fordel, har du bakgrunn fra, har bodd eller arbeidet i et annet land er det en fordel
Interesse for menneskerettigheter og kunstnerisk ytringsfrihet
Erfaring med arrangementsutvikling, workshops eller kuratering/kunstproduksjon/visninger/scenearbeid
Erfaring med søknadsskriving og ryddig og nøyaktig rapportering skriftlig og muntlig
Ha solid formuleringsevne på norsk og engelsk, både muntlig og skriftlig

Personlige egenskaper

Du har en god forståelse av fleksibilitet
God sosial, kulturell og kunstnerisk kompetanse
Selvgående, men også en lagspiller
Kreativ og lyttende med gjennomføringsevne
Evne til å skape positivt engasjement
Forståelse for kunstneriske prosesser

Personlig egnethet og teamets totale sammensetning vil bli vektlagt.

Vi tilbyr:

Stillingsstørrelse: 100%

Lønn etter avtale.

Fleksibel arbeidstid etter avtale.

En del reisevirksomhet samt arbeid kvelder og helger må påregnes.

Safemuse holder til i kontor i Oscarsgate i Oslo og driver også residens i Hvitsten i Vestby kommune.

SØKNADSFRIST 16.mars

Innkomne søknader vurderes fortløpende.

Søknad med referanser og CV sendes celina@safemuse.org

Kontaktperson: Daglig leder Celina Jerman Bright-Taylor, telefon 95735598

Eddie Htet Aung Lwyn: A Dose of Survivor’s Guilt, Recurrent Frustration, and Moments of Overcoming

Saba Pouyeshman: Rewriting the spell, from supperssion to imagination

Pouya Pour-Amin: An artist’s journey from fear to freedom

Meet our newest staff members

Meet our newest staff member

Safemuse søker programmedarbeider

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

© Safemuse Organisation - Oslo/Norway

News Concert

“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

Eddie Htet Aung Lwyn: A Dose of Survivor’s Guilt, Recurrent Frustration, and Moments of Overcoming

Saba Pouyeshman: Rewriting the spell, from supperssion to imagination

Pouya Pour-Amin: An artist’s journey from fear to freedom

Meet our newest staff members

Meet our newest staff member

Safemuse søker programmedarbeider

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

© Safemuse Organisation - Oslo/Norway

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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Cambridge University Press.

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Maximum rock ‘n roll. https://www.maximumrocknroll.com/64-indonesian-punks-detained-and-re-educated/

– Zaghdoudi, A. (2024, March 24). In Saudi Arabia, no safe harbor for free speech.

Accessnow. https://www.accessnow.org/saudiarabiasafeharbor/

– Chester, N. (2015, April 21). Meet the Saudi Arabian Black Metal Band That’s Breaking Saudi Law By Being a Black Metal Band. Vice. https://www.vice.com/en/article/anti-religious-black-metal-band-in-saudi-arabia-666/

– Bhagwandas, A. (2024, April 6). A short history of how corpse paint became a part of black metal scene….

Anitabhagwandas. https://anitabhagwandas.substack.com/p/a-short-history-of-corpse-paint

– Sharp, T. (2024, September 11). Every Song Radio Stations Were Encouraged to Not Play After 9/11.

Loudwire. https://loudwire.com/every-song-radio-stations-were-encouraged-to-not-play-after-911/

– Brannigan, P. (2020, April 20). Columbine: How Marilyn Manson Became Mainstream Media’s Scapegoat.

Kerrang. https://www.kerrang.com/columbine-how-marilyn-manson-became-mainstream-medias-scapegoat

– Grow, K. (2015, September 18). Dee Snider on PMRC Hearing: ‘I Was a Public Enemy’.

Rolling Stone. https://www.rollingstone.com/music/music-news/dee-snider-on-pmrc-hearing-i-was-a-public-enemy-71205/

– Gold, J. (1995, June 25). GROSS PROFIT: When Sen. Dole Targets Certain Rock Groups, He Just Feeds Their Notoriety.

Los Angeles Times. https://www.latimes.com/archives/la-xpm-1995-06-25-tm-16759-story.html

– Pace, G. (2005, December 19). Iran’s Leader Bans Western Music.

CBS news. https://www.cbsnews.com/news/irans-leader-bans-western-music/

– Buesnel, R. (2020). National Socialist Black Metal: a case study in the longevity of far-right ideologies in heavy metal subcultures. Charles Sturt University.

https://doi.org/10.1080/0031322X.2020.1800987

– Stratton, C. (2023, September 25). Horrific crime Who is Varg Vikernes and how much time did he serve?

The Sun. https://www.thesun.co.uk/news/23710258/varg-vikernes-euronymous-mayhem/

– Hohnen, M. (2023, January 6). Promoters cancel Australia tour of Norwegian metal band Taake, accused of far-right sympathies. The Guardian. https://www.theguardian.com/music/2023/jan/06/promoters-cancel-australia-tour-of-norwegian-metal-band-taake-accused-of-far-right-sympathies

– Burns, L. (2020). Intersections of Gender, Race, and Genre: Cammie Gilbert and Black Female Subjectivity in Metal Music.

AMP American Music Perspectives

https://doi.org/10.5325/ampamermusipers.1.2.0098.

– Berkers, P. & Julian Schaap. (2018). Gender Inequality in Metal Music Production.

Emerald Publishing.

https://doi.org/10.56367/OAG-042-11408

– The Ultimate List of Musicians Lost to Drugs. (2017). https://whitesandstreatment.com/infographics/the-ultimate-list-of-musicians-lost-to-drugs/

– Cornell, J. (2018, December 19). New Study Reveals Concert Substance Abuse Stats of Metal Fans.

Loudwire. https://loudwire.com/new-study-concert-substance-abuse-stats-metal-fans/

– Heritage, S. (2022, August 1). Break stuff! How Limp Bizkit, rioting fans and a huge candle handout led to a music festival fiasco. The Guardian. https://www.theguardian.com/culture/2022/aug/01/woodstock-99-full-metal-racket-the-jaw-dropping-story-of-a-disastrous-music-festival

– Everley, D. (2023, August 7). “We inadvertently started an LA riot, and we didn’t even do anything.” System Of a Down frontman Serj Tankian on fleeing civil war in Lebanon, causing mayhem in Hollywood and becoming an unlikely metal icon. Metal Hammer. https://www.loudersound.com/features/serj-tankian-classic-interview

– Guardian music. (2014). As I Lay Dying singer Tim Lambesis jailed for murder plot.

The Guardian. https://www.theguardian.com/music/2014/may/17/as-i-lay-dying-singer-jailed-murder-plot

– Dome, M. (2022, November 7). 16 things you might not know about GG Allin.

Metal Hammer. https://www.loudersound.com/features/blood-and-guts-16-facts-about-gg-allin

– 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/

Eddie Htet Aung Lwyn: A Dose of Survivor’s Guilt, Recurrent Frustration, and Moments of Overcoming

Saba Pouyeshman: Rewriting the spell, from supperssion to imagination

Pouya Pour-Amin: An artist’s journey from fear to freedom

Meet our newest staff members

Meet our newest staff member

Safemuse søker programmedarbeider

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

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

Written by Akari Izumi Kvamme

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.

Eddie Htet Aung Lwyn: A Dose of Survivor’s Guilt, Recurrent Frustration, and Moments of Overcoming

Saba Pouyeshman: Rewriting the spell, from supperssion to imagination

Pouya Pour-Amin: An artist’s journey from fear to freedom

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Meet our newest staff member

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Altyn Kapalova – A fearless advocate for feminist & queer art

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

Eddie Htet Aung Lwyn: A Dose of Survivor’s Guilt, Recurrent Frustration, and Moments of Overcoming

Written by Kate Ngan Wa Ao

“Do I still feel survivor’s guilt? Yes, of course. But my motivation has shifted. Now, I want to create art as a celebration of being alive, of having survived, of being in community. I like to call it radical joy, because we all need it.“

“Everyone navigates the world in their own unique way. We are all just doing the best we can with what we have.

We all heal in our own time.“

© Safemuse Organisation - Oslo/Norway

Saba Pouyeshman: Rewriting the spell, from suppression to imagination

Written by Kate Ngan Wa Ao

© Safemuse Organisation - Oslo/Norway

Pouya Pour-Amin: An artist’s journey from fear to freedom

Written by Akari Izumi Kvamme

“While living in Iran, I worked a lot in fear. I had to find secret ways, like put my phone in the microwave to avoid being tapped, and I lived under the constant fear of getting in trouble with the authorities.”

“To have artistic freedom now is a totally new feeling for me. I didn’t know how it would feel. When I look back at this short period I have worked in freedom, I can see that things have started changing in the ways that I think and create art.”

© Safemuse Organisation - Oslo/Norway

Meet our new staff members

Hilde Louise Asbjørnsen and Aliona Pazdniakova

© Safemuse Organisation - Oslo/Norway

Meet our newest staff member

Kate Ngan Wa Ao joined the Safemuse team at the end of March - Photo credit: Kate Ngan Wa Ao.

© Safemuse Organisation - Oslo/Norway

Safemuse søker programmedarbeider

Photo Description - Photo credit: Photographer name

Meningsfylt arbeid med spennende og varierte oppgaver i et internasjonalt miljø

© Safemuse Organisation - Oslo/Norway

"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

Written by Akari Izumi Kvamme

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