Last Thursday, a powerful and historically significant event took place in London, when an exhibition of Guantánamo prisoners’ artwork was launched at Rich Mix, a cultural and community space at 35-47 Bethnal Green Road in Shoreditch, London E1 6LA. The exhibition was supported by the UK Guantánamo Network (an umbrella group of organizations calling for Guantánamo’s closure), in collaboration with Amnesty International UK, and was curated by Lise Rossi and Dominique O’Neil, core team members of the UK Guantánamo Network, and Amnesty International members.
The exhibition, “Don’t Forget Us Here”, named after the compelling 2021 memoir of former prisoner Mansoor Adayfi, runs until January 5, and the launch was, genuinely, historically significant because it is the first exhibition of Guantánamo prisoners’ artwork in the UK, and because Mansoor himself attended, and gave a profoundly moving speech about the significance of art for the men held at Guantánamo.
If we lived in a world that cared about the continued existence of the prison at Guantánamo Bay, and the power of artwork to break through the sweeping isolation and dehumanization to which the men held there were subjected throughout the seven years that they were held under George W. Bush, until an easing of conditions under President Biden allowed “compliant” prisoners to take classes, including art classes, on a communal basis, Mansoor would have been featured on mainstream news channels, but, shamefully the world doesn’t care.
Since the prison at Guantánamo Bay opened nearly 23 years ago, holding Muslim men (and boys) for the most part indefinitely without charge or trial, most of the western mainstream media — and particular the US media — turned a blind eye to the dehumanization and brutalization of Muslims held there, and also held elsewhere in the US’s global network of “war on terror” prisons.
They also stayed largely silent as the west’s ruinous warmongering policies in Muslim countries created a global wave of refugees in 2015, which, in turn, exacerbated anti-refugee and anti-immigrant sentiment to such an extent that the UK left the EU via Brexit, Donald Trump was elected in the US, and racism and Islamophobia are now so deeply entrenched that western governments, and most of the western media, have failed to recognize Israel’s relentless 14-month long assault on Palestinians in the Gaza Strip as genocide, even though, if it involved anyone but Muslims, they would have fallen over themselves to condemn it.
In this fundamentally racist media landscape, the only news channel that was present at the launch was the Turkish news channel TRT World. They interviewed Mansoor and produced the short feature below, which included footage from the launch. I hope that you have time to watch it, but I also hope that further footage eventually surfaces — perhaps of my introductory speech, providing a summary of the situation at Guantánamo now, of the urgent need for 16 men approved for release (including two artists) to be freed before President Biden leaves office, but especially of Mansoor’s charming, eloquent and heartfelt discussion of the meaning of the art.
For anyone wanting to know more, I urge you, if you haven’t done so already, to read Mansoor’s memoir, which contains a truly inspiring chapter on the liberating effects of creativity on the men deprived of free expression for so long.
One of these men is Moath al-Alwi, the only one of the six artists whose work is featured in the exhibition who is still held, even though he was unanimously approved for release by a high-level US government review process nearly three years ago. Moath’s speciality is making three-dimensional sculptures of sailing ships, which he creates, with extraordinary inventiveness, using recycled materials. As Mansoor explains in his memoir, “Moath could make anything once he set his mind to it.”
On display as part of the exhibition is a beautiful video of Moath’s ship-building techniques, made many years ago for the New York Times, and now available on the video creators’ YouTube channel, and posted below. It features an actor speaking Moath’s own words, and vividly brings to life his inventiveness.
This period in Guantánamo’s long history, when creativity was tolerated, or even encouraged, is referred to by Mansoor, in his memoir, as “the golden age”, and the following passage demonstrates wonderfully how Moath was able to liberate not only himself, but also his fellow prisoners, and even some of the guards, through his three-dimensional creations.
We were at the peak of the golden age when Moath made his own windows. One opened east to Makkah and the sun rising over a vast blue sea dotted with ships and palm trees swaying gently in the morning light. The other window opened west to the most beautiful sunset, palm trees so close you could touch them, birds flying freely, and the sea a deep and mysterious blue. People came from all over to enjoy those windows and his other work. No one was jealous, except maybe some of the guards. The camp admin didn’t know how to feel about them.
While the other five artists — Sabri Al-Qurashi, Muhammad Ansi, Ahmed Rabbani, Abdualmalik Abud (aka Abd Almalik) and Mansoor himself — have been released from Guantánamo, it would be unwise to conclude that their release has, necessarily, meant freedom. This is because many prisoners released from Guantánamo, and, in particular, many of those resettled in third countries because it was regarded as unsafe for them to be sent home, continue to suffer from the stigma of having been held at Guantánamo — regarded with suspicion, denied travel documents, unable to work, and prevented from being reunited with their families, to name just a few examples of the ways in which they remain marginalized and without fundamental rights — even though they were never charged with a crime.
As I explained when I posted an article about the art exhibition a few weeks ago, “For the men released from Guantánamo, life has not necessarily improved. While Mansoor, released in Serbia in 2016, has, in recent years, finally been allowed to travel freely, and Abd Almalik lives in Montenegro, and has a website making his artwork available to interested parties, Sabri Al-Qurashi, released in Kazakhstan in 2014, lives fundamentally without any basic rights, and Muhammad Ansi, resettled in Oman in 2017, was, recently, forcibly repatriated to his home country of Yemen, where his status in unknown. Ahmed Rabbani, meanwhile, who was returned to his home country of Pakistan in February 2023, has found no support on his return, and recently suffered the loss of his brother, Abdul Rahim, also held with him in Guantánamo, and, previously, in CIA ‘black sites’, because of this lack of care.”
One other artist, not featured in the exhibition, also deserves mention, as he is also still held at Guantánamo, despite having been unanimously approved for release in July 2022. Khaled Qassim (aka Khalid Qassim, or Khalid Qasim), celebrated by Mansoor as a kind and caring person, a cellblock leader, a singer, a poet and a footballer, made sculptural paintings using the fabric of Guantánamo itself — the gravel on the ground — mixed with glue and then painted, as well as heavily lacquered allegorical paintings, and, along with Moath, the quality of his work is worthy of international attention.
As for the exhibition itself, its opening in the UK is in itself something of minor miracle. As Mansoor explains in his memoir, “the golden age” at Guantánamo didn’t last forever. Within just a few years, as the military leadership rotated and changed, another violent clampdown occurred, and by early 2013 the prisoners had embarked on a prison-wide hunger strike, which, after years of global media indifference, suddenly reawakened them to the prison’s ongoing existence, and finally prompted Obama to resume the release of prisoners, which had largely ground to a halt after Republicans had raised repeated obstacles to delay or prevent the ability of the administration to free anyone.
Despite this renewed clampdown, during the period when a certain openness held sway, the prisoners had been allowed to give their art to their lawyers, and, via them, to their families, and, as a result, in October 2017, the very first exhibition of prisoners’ artwork — including some of Moath’s sailing ships — opened at the John Jay College of Criminal Justice in New York City. Versions of it have since taken place in other locations in the US, as well as in Berlin and the European Parliament, and, most recently, with Mansoor’s involvement, in Belgrade, although that first exhibition prompted a horrible backlash from the Pentagon that had a profound impact on the artists still held.
As I explained in my recent article, “the existing arrangements — in which prisoners were allowed to give their art to their lawyers, and, via them, to their families — were abruptly cancelled, and the Pentagon claimed ownership of all the men’s art, the right to destroy it, if they wished, and the right to prevent any prisoner from leaving the prison with any of the work they had created. Prisoners were also — at least in some cases — prevented or restricted from making any new artwork.”
As I proceeded to explain, “These various threats and bans stayed in place until February 2023, when, finally, in response to a submission by two UN Special Mandates holders — the Special Rapporteur in the field of cultural rights, and the Special Rapporteur on the promotion and protection of human rights and fundamental freedoms while countering terrorism — they were lifted.”
The lifting of the ban allowed Ahmed Rabbani to return with his artwork to Pakistan, where he subsequently held an exhibition. However, although it must also have improved the mental health of Moath and Khaled, for both of whom art has become a part of themselves, it means nothing when they can still see no end to their imprisonment, because, as has been commonplace throughout Guantánamo’s history, despite them having been approved for release, they are still held by a captor — the US government — that has little or no interest in prioritizing the release of men it should never have held in the first place.
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Andy Worthington is a freelance investigative journalist, activist, author, photographer (of an ongoing photo-journalism project, ‘The State of London’), film-maker and singer-songwriter (the lead singer and main songwriter for the London-based band The Four Fathers, whose music is available via Bandcamp). He is the co-founder of the Close Guantánamo campaign (see the ongoing photo campaign here) and the successful We Stand With Shaker campaign of 2014-15, and the author of The Guantánamo Files: The Stories of the 774 Detainees in America’s Illegal Prison and of two other books: Stonehenge: Celebration and Subversion and The Battle of the Beanfield. He is also the co-director (with Polly Nash) of the documentary film, “Outside the Law: Stories from Guantánamo” (available on DVD here, or you can watch it online here, via the production company Spectacle, for £2.50).
In 2017, Andy became very involved in housing issues. He is the narrator of the documentary film, ‘Concrete Soldiers UK’, about the destruction of council estates, and the inspiring resistance of residents, he wrote a song ‘Grenfell’, in the aftermath of the entirely preventable fire in June 2017 that killed over 70 people, and, in 2018, he was part of the occupation of the Old Tidemill Wildlife Garden in Deptford, to try to prevent its destruction — and that of 16 structurally sound council flats next door — by Lewisham Council and Peabody.
Since 2019, Andy has become increasingly involved in environmental activism, recognizing that climate change poses an unprecedented threat to life on earth, and that the window for change — requiring a severe reduction in the emission of all greenhouse gases, and the dismantling of our suicidal global capitalist system — is rapidly shrinking, as tipping points are reached that are occurring much quicker than even pessimistic climate scientists expected. You can read his articles about the climate crisis here.
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Please also consider joining the Close Guantánamo campaign, and, if you appreciate Andy’s work, feel free to make a donation.
100 Former Guantánamo Prisoners, Ex-US Government Officials, Lawyers, Academics, Psychologists, Public Figures and Rights Organizations Send Letter to President Biden Urging Him to Free the 16 Men Still Held at Guantánamo Who Have Long Been Approved for Release; Second Letter is Sent by 40 British MPs and Peers, Academics and CEOs of UK Rights Organizations
Today, December 6, 2024, 100 individuals and organizations — including 36 former Guantánamo prisoners, 36 ex-US government officials, lawyers, academics, psychologists and public figures, and 28 rights organizations — have written to President Biden, with a second letter sent simultaneously by 40 British MPs and peers, academics and the CEOs of UK rights organizations, to urge him to take urgent action to free 16 men still held in the prison at Guantánamo Bay (out of 30 in total) who have long been approved for release.
These decisions, which were unanimously agreed through robust, high-level US government review processes, took place many years ago — between two and four years ago, and in three outlying cases nearly 15 years ago.
The former prisoners signing the US and international letter include the authors Mansoor Adayfi and Mohamedou Ould Slahi, and the supporters include Larry Wilkerson, the former chief of staff to Secretary of State Colin Powell, and the musician and activist Roger Waters.
The UK letter includes 20 Parliamentarians, the Chief Executive of Amnesty International UK, and the film director Kevin Macdonald (‘The Mauritanian’).
It’s taken a long time to make this available, but I hope that you’ll have the time to listen to the audio recording of a powerful and moving event that took place at Amnesty International’s London headquarters on Wednesday June 28, 2023.
‘Life at Guantánamo: Writing Behind Bars’ featured Mohamedou Ould Slahi, as the author of the best-selling Guantanamo Diary, and, from Serbia, via Zoom, Mansoor Adayfi, the author of Don’t Forget Us Here: Lost and Found at Guantánamo, which was published in 2021. Mansoor was supposed to be with us in person, but had not been given a visa in time, although he has subsequently managed to successfully visit the UK on several occasions, including a memorable visit to the Houses of Parliament last October, which I wrote about here.
I was the moderator for the event, and Sara Birch, the Convenor of the UK Guantánamo Network, was also on the panel, and it was, I think it’s fair to say, a resounding success, with, in particular, a powerful rapport between Mohamedou, Mansoor and myself.
I’m delighted to announce that, on Thursday December 5, an exhibition of Guantánamo prisoners’ artwork, “Don’t Forget Us Here”, named after the 2021 memoir of former prisoner Mansoor Adayfi, will be launching at Rich Mix, a cultural and community space in Shoreditch, at 35-47 Bethnal Green Road, London E1 6LA.
The exhibition will be running until January 5, with an opening event, starting at 6pm on December 5, featuring Mansoor and myself as speakers. It was organized by the UK Guantánamo Network (an umbrella group of organizations calling for Guantánamo’s closure), in collaboration with Amnesty International UK, and was put together by Lise Rossi and Dominique O’Neil, core team members of the UK Guantánamo Network, and Amnesty International members.
The exhibition — the first in the UK — is a version of an exhibition of artwork by current and former prisoners that first opened at the John Jay College of Criminal Justice in New York City in October 2017, and that has since toured across the US, as well as in Berlin and the European Parliament.
I wrote the following article for the “Close Guantánamo” website, which I established in January 2012, on the 10th anniversary of the opening of Guantánamo, with the US attorney Tom Wilner. Please join us — just an email address is required to be counted amongst those opposed to the ongoing existence of Guantánamo, and to receive updates of our activities by email.
In genuinely dispiriting news, Spencer Ackerman has reported, via his Forever Wars website, that the majority of the 28 former Guantánamo prisoners from Yemen who were resettled in Oman between 2015 and 2017 have been forcibly repatriated to their home country over the last few weeks.
The news is particularly dispiriting because, until now, the Sultanate of Oman had appeared to be one of the most successful countries involved in resettling former Guantánamo prisoners, all unanimously approved for release by high-level US government review processes, but who could not be safely repatriated.
This was either because the State Department regarded it as unsafe for them to be sent home (on the basis of human rights concerns, or concerns about their potential recruitment or targeting by forces hostile to the US), or because provisions inserted by Republicans into the annual National Defense Authorization Act (NDAA) proscribe certain countries, including Yemen, from receiving their citizens (again, for reasons of national security), or, in a few cases, because they were essentially stateless.
On Wednesday (April 3), the latest monthly coordinated vigils for the closure of the prison at Guantánamo Bay took place at five locations across the US, in London, in Mexico City, and, as a special one-off event, in the European Parliament in Brussels.
On November 21, I was delighted to take part in ‘The Legacy of the War on Terror: Guantánamo Bay’, a well-attended panel discussion about Guantánamo at SOAS (the School of Oriental and African Studies) in London, with two former Guantánamo prisoners, the British citizen Moazzam Begg, who is the outreach director at CAGE, and, via Zoom, Mansoor Adayfi, a Yemeni citizen who was resettled in Serbia in 2016. Also joining us via Zoom was Deepa Govindarajan Driver, an academic and trade unionist, and a legal observer in the Julian Assange case for the Unified European Left at the Parliamentary Assembly of the Council of Europe.
The chair — and organizer — was Nina Arif, and the meeting was convened by SOAS ICOP (Influencing the Corridors of Power), an organization set up to bring together politicians and university researchers to “address the democratic deficit that … results from encroaching government control on freedom of speech and assembly on SOAS and other campuses”, a particularly topical purpose right now, as Palestinian voices are being silenced.
I must note, however, that much of this silencing is coming from within universities and other institutions without any prompting from central government, an alarming trend that ought not to be allowed to proceed unchallenged, and that is also particularly pernicious in light of the crimes being committed by Israel, and the necessity for criticism of the Israeli government to be able to take place without being shut down through false allegations that it constitutes anti-semitism.
Sometimes, when darkness is all around, just one small ray of light is sufficient to keep hope alive.
A week ago, on November 15, amidst the almost all-encompassing darkness of Israel’s genocide in Gaza, that small ray of light was provided when former Guantánamo prisoner Mansoor Adayfi was welcomed into the Palace of Westminster, the home of the British Parliament, by Chris Law, the SNP (Scottish National Party) MP for Dundee East, who is the co-chair of the recently established All-Party Parliamentary Group (APPG) for the Closure of the Guantánamo Detention Facility.
Mansoor — the very definition of human irrepressibility — was held for over 14 years at Guantánamo before being resettled in Serbia in July 2016, where his outspoken nature and complaints about his treatment (which included a ban on travelling outside Serbia) led, for many years, to harassment and intimidation from the Serbian authorities.
This is a situation that only slowly began to change when he started having articles published in the New York Times, related to his involvement in “Ode to the Sea: Art from Guantánamo Bay”, a significant exhibition of artwork by current and former prisoners at John Jay College of Criminal Justice in New York, which ran from October 2017 to January 2018.
I’m delighted to announce that, a week on Tuesday, on November 21, I’m taking part in a panel discussion about Guantánamo in SOAS (the School of Oriental and African Studies) in London, with two former prisoners, the British citizen Moazzam Begg, who is the outreach director at CAGE, and, via Zoom, Mansoor Adayfi, a Yemeni citizen who was resettled in Serbia in 2016, after being held at Guantánamo for 14 years without charge or trial, and who has only this year secured the return of his passport, allowing him to travel to other countries. The chair of the event is Deepa Govindarajan Driver, an academic and trade unionist, and a legal observer in the Julian Assange case for the Unified European Left at the Parliamentary Assembly of the Council of Europe.
The event, ‘The Legacy of the War on Terror: Guantánamo Bay’, is organised by SOAS ICOP (Influencing the Corridors of Power), which was set up to bring together politicians and university researchers to, as ICOP describe it, “address the democratic deficit that we believe results from encroaching government control on freedom of speech and assembly on SOAS and other campuses.”
The 90-minute event, with individual presentations followed by a Q&A session, runs from 7 to 8.30pm, and takes place in the Khalili Lecture Theatre, in the Main Building at SOAS, at 10 Thornhaugh Street, London WC1H 0XG. Entry is free, but you need to book in advance, via the Eventbrite page here. The event will be recorded, and a video will be made available afterwards.
What a difference a month makes.
On September 28, I was in Brussels, taking part in “Close Guantánamo!”, a moving and powerful event in the European Parliament that I’d been working towards for six months with the indefatigable Irish independent MEPs Clare Daly and Mick Wallace, and former Guantánamo prisoner Mansoor Adayfi.
Over the course of three hours, a rapt audience heard a mixture of emotional, inspiring and legally compelling testimony about the evils of Guantánamo, the need to get the prison closed, and the urgent need to find new homes for at least 13 of the 30 men still held, who have been approved for release but cannot be repatriated. This is a pressing problem in need of a solution, with which, we all hoped, European countries might be able to help.
On October 1, I posted a detailed report about the event, also featuring the full three-hour video of it, at which the speakers, including Mansoor and myself, were two other former prisoners, Lakhdar Boumediene and Moazzam Begg, Fionnuala Ní Aoláin, the UN Special Rapporteur on the Promotion and Protection of Human Rights and Fundamental Freedoms while Countering Terrorism, who summarized her devastating report about historic and continuing abuses at Guantánamo, based on the first ever visit to Guantánamo by a UN Rapporteur, which she undertook in February, the lawyers Alka Pradhan and Beth Jacob, Valerie Lucznikowska of September 11th Families for Peaceful Tomorrows and James Yee, the former Muslim Chaplain at Guantánamo.
Afterwards, however, just as Clare and Mick were preparing to follow up, editing the event into smaller and more manageable podcasts and videos, and just as I was preparing to post a video of my speech, which Clare’s team had sent to me, the events of October 7 — when Hamas militants broke out of their “open air prison” in the Gaza Strip and went on a killing spree that left 1,400 people dead — threw all our plans into disarray, as it was immediately followed up by indiscriminate bombing raids of unprecedented ferocity on Gaza’s mercilessly trapped civilians, who, to compound their agonies, also had all their water, food, medical supplies and fuel supplies cut off.
Investigative journalist, author, campaigner, commentator and public speaker. Recognized as an authority on Guantánamo and the “war on terror.” Co-founder, Close Guantánamo and We Stand With Shaker, singer/songwriter (The Four Fathers).
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