Deusdedit Ruhangariyo
ICT
Around the World: Chinese artist fined for filming Uyghur music in Xinjiang, Aboriginal trailblazers nominated for Tasmanian Young Achiever Awards, Indigenous Fijian traditions ensure the ocean is protected, even in death, and slow fashion, bold earrings, and traditional tattoos are spotlit in Inuit design.
CHINA: Chinese artist fined for filming Uyghur music
A Chinese artist has been fined for “illegal filming” of folk music in Xinjiang, even as China promotes state-sponsored performances by Uyghur singers and dancers across Europe – actions that have sparked outrage among Uyghur activists, Radio Free Asia reported on April 17.
Chinese artist Guo Zhenming, known for commemorating the 1989 Tiananmen massacre, has been fined 75,000 yuan (US $10,300) and had his equipment confiscated for what authorities claim was “illegal filming” in Xinjiang. Guo insists the project was personal and not intended for distribution.
Speaking to Radio Free Asia, Guo said he was documenting Uyghur folk music during a trip across Xinjiang in December 2024 and January 2025. “This is one piece of evidence used by the Cultural and Tourism Bureau to accuse me,” he said, referring to a video of a Uyghur girl playing a traditional tambur, according to Radio Free Asia.
The Urumqi Municipal Bureau of Culture and Tourism claims Guo violated Article 13 of China’s Film Industry Promotion Law, which requires submitting film synopses to the authorities. However, Guo argues no film was ever scripted or planned: “This is just a record of artistic music-collection field trips. There is no studio or trailer – only filming equipment.”
Authorities referenced Guo’s previous work, including an unsanctioned documentary shown at the Berlin Film Festival about artists affected by Tiananmen, as a reason to suspect his intentions. In February, Urumqi officials raided his home, seizing cameras, hard drives, lights, and more.
Chinese artists and internet influencers criticized the punishment as a suppression of artistic freedom and a misuse of legal power. “Film a movie in Hunan, and get fined by Xinjiang, it may sound ridiculous, but it reflects a serious problem,” blogger Li Yuchen wrote, according to Radio Free Asia. “If this nonsense continues, the next people punished may be you, me, and everyone we know who has used a camera.”
Lawyer Li Xiongbing, representing Guo, argued at an April 11 hearing that the law targets organized productions, not individual projects. “There are serious problems in the application of the law,” he said, noting Urumqi lacked jurisdiction. Guo’s legal team called for the penalty to be revoked, and equipment returned.
Meanwhile, the punishment stands in stark contrast to China’s promotion of Uyghur culture abroad. State-sponsored performances of Uyghur music and dance, such as the 12 Muqam troupe’s shows in Paris and Budapest, aim to present Uyghurs as joyfully integrated into Chinese society.
Rushan Abbas, chairwoman of the World Uyghur Congress, called this “a grotesque irony.” “The same regime staging dance performances abroad is the one that has criminalized Uyghur religious expression, bulldozed our mosques, banned our language, and detained our artists. This is not cultural preservation; it is cultural propaganda,” she said, according to Radio Free Asia.
Guo’s case has ignited fears among artists that even non-commercial projects are at risk. Echoing those concerns, exiled artist He Sanpo compared the punishment to absurd political acts of the Soviet era. “Once public power overrides the law, it is like a tiger on the street, it can hurt anyone, anytime,” he said.
Guo has previously faced punishment; in 2022, authorities detained him for 15 days over remarks about China’s “white paper” protests. His current case adds to the growing concerns over China’s shrinking space for artistic and cultural expression.
AUSTRALIA: Aboriginal trailblazers nominated for awards
Braydon Gower is among three young, trailblazing Aboriginal individuals who have been named as finalists for the 2025 Tasmanian Young Achiever Awards, the National Indigenous Times reported on April 17.
The Tasmanian Young Achiever Awards, established in 1989, aim to recognize, celebrate and uplift the positive contributions of young Tasmanians aged 30 and under.
Among this year’s standout finalists is Braydon Gower, a proud Palawa and Torres Strait Islander chef, who is in the running for the Connecting Communities category. Having recently completed a four-year apprenticeship at Cataract Gorge Restaurant, Gower has grown into a respected Aboriginal leader in the culinary world. Despite early learning challenges, he has gone on to design inventive dishes that highlight Native ingredients such as wallaby and pepperberry.
Now working full-time with Palawa Kipli, a Tasmanian Aboriginal-owned food business, Gower contributes not only to preserving culture through food, but also to community wellbeing and ecological sustainability. “I’m passionate about educating both locals and tourists on Indigenous cuisine and using food as a tool for connection,” he said, according to National Indigenous Times.
Also named a finalist in the same category is Huon Valley resident Jonathan Berry. Last year, Berry made history as the first Australian male and the first Indigenous person to win the prestigious Mr. Universe title. A survivor of child sexual abuse and periods of homelessness, Berry has turned personal adversity into international advocacy. He has earned a Human Rights Award in India and now works closely with acid attack survivors.
As director of the Ballawinne Aboriginal Corporation in Huonville, Berry is dedicated to revitalising culture, mentoring youth, and advancing Indigenous-led enterprise. “My goal is to empower communities to reclaim their stories and shape their futures,” Berry shared, according to National Indigenous Times. His work spans diverse sectors including healthcare, fashion, and media, where he leads national efforts in stroke prevention and secure care reform.
In another category, Granton-based artist Brandi Salmon is a finalist for the Bean and Leaf Small Business Achiever Award. A proud Wiradjuri woman, Salmon is the founder of Brandi Salmon Art and Tassie Wedding Painter, with her artwork garnering millions of views online. Her commissions for Universal Music have brought Indigenous representation to global audiences.
Salmon’s pieces explore Aboriginal identity, culture and history – most notably through her celebrated Aunty Collection, which depicts Aboriginal people with humour, resilience and pride. She is currently developing Future Blak, a mentorship program for emerging Aboriginal artists, and will soon unveil a large-scale mural in Wellington Court that pays tribute to Palawa women.
Members of the public are encouraged to support Gower, Berry, and Salmon by voting in the Tasmanian Young Achiever Awards People’s Choice Award.
The winners of the 2025 Tasmanian Young Achiever Awards will be announced during a Gala Presentation Dinner at Hobart’s Crowne Plaza on Saturday, May 24.
FIJI: Indigenous Fijian traditions seek to protect ocean
In Fiji, Indigenous iTaukei communities honor the deceased by temporarily forbidding fishing in specific waters, a cultural tradition that also supports sustainability, yet remains overlooked in scientific research and modern conservation efforts, Mongabay reported on April 17.
A recent study has spotlighted Fiji’s funerary protected areas, temporary marine reserves established by Indigenous iTaukei communities following the death of a clan member, often a chief.
These areas, which can stretch from the shoreline to outer reefs, typically remain closed for 100 nights, though some extend further. Between 1960 and 2019, 188 funerary protected areas were recorded, with 44 percent enforcing a 100-night closure and 47 percent banning all resource extraction.
After a chief’s death, the community declares a part of the sea taboo, or off-limits, until the funerary feast, during which fish, turtles, and invertebrates are harvested to honor the deceased. “Funerary protected areas hold much significance for the iTaukei way of life and conservation,” said clan leader Seru Moce, according to Mongabay. “It’s a part of our livelihood, culture and sustainable management of resources.”
Historically, some funerary protected areas spanned thousands of hectares, but today many are just 1-10 hectares in size, and some communities have abandoned the practice due to declining knowledge and the rising costs of traditional rituals.
Despite their fading presence, funerary protected areas have inspired broader conservation initiatives. Some communities, noting the resurgence of marine life during closures, have extended protections beyond funerary customs. Yet legal recognition remains limited. Although Fiji acknowledges customary management rights, the state retains authority over nearshore waters. “The legal ownership of the fishing grounds should be bestowed to the customary owners,” said Moce, according to Mongabay. “They hold the traditional knowledge and share a symbiotic relationship with the marine areas.”
The Wildlife Conservation Society Fiji has begun incorporating funerary protected areas into ecosystem-based management plans, but efforts are inconsistent. “Less studied and documented, [funerary protected areas] undermine the significant roles, participation and leadership of Indigenous communities in marine conservation,” said Sirilo Dulunaqio of the Wildlife Conservation Society Fiji.
Researchers emphasize that funerary protected areas offer more than ecological benefits. “[Funerary protected areas] are important for cultural ecosystem services, food provisioning and sovereignty,” said Ron Vave, the study’s lead author. “If these practices cease, the social, economic and ecological repercussions could be significant.”
As some communities advocate for stronger legal protections, others struggle to preserve a tradition that has sustained both their heritage and their fisheries for generations.
CANADA: Slow fashion, bold earrings, traditional tattoos
Stacey Aglok MacDonald and Alethea Arnaquq-Baril saw fashion as key to their CBC comedy North of North, which follows Siaja, a young Inuk woman, navigating life in Ice Cove, CBC News reported on April 17.
In North of North, fashion is far more than wardrobe – it’s an intentional celebration of contemporary Inuit life. The CBC comedy series, set in the fictional Arctic town of Ice Cove, follows Siaja (played by Anna Lambe), a young Inuk woman navigating relationships, motherhood, and a new job after a very public breakup. But behind the scenes, clothing became a powerful storytelling tool.
Series creators Stacey Aglok MacDonald and Alethea Arnaquq-Baril, along with assistant costume designer Keenan “Nooks” Lindell, shaped the show’s fashion by pulling from their own roots. “The starting place was always just going to something that felt authentic to us,” said Aglok MacDonald, according to CBC News. “We really strive to make a show where we feel like we’re seeing ourselves in our community.”
The team sourced clothing from talented Inuit designers like Victoria Kakuktinniq, Nancy Mike, Winifred Nungak, Lavinia Van Heuvelen, and Augatnaaq Eccles, while also mixing in more traditional and everyday Northern fashion. “We really tried to represent a range of fashion in the North, everything from traditional to contemporary,” Arnaquq-Baril said.
That mix shows up in everything from slow-made garments to dazzling, handcrafted earrings. “We’ve had items for years, and they’re well-crafted and sustainably made,” Lambe said.
The show’s emphasis on slow fashion challenged the fast pace of typical productions. “Nothing here is mass-made,” Aglok MacDonald said. “We went out to independent artists crafting a few pieces at a time.” That was especially true for jewelry, big, vibrant earrings being an essential part of Indigenous women’s style. Arnaquq-Baril and Aglok MacDonald even contributed personal pieces to keep up with production demands. “They had to be spectacular,” said Arnaquq-Baril, according to CBC News.
Durability and care are cornerstones of Inuit fashion. “We repair them … because these items take so long to make and they’re so special,” Lambe said. In the show, props like sewing machines and scenes about mending parkas reflect this culture of restoration.
The creators also highlight the ethical importance of supporting Indigenous makers. “When you admire Indigenous designs, the right thing to do is buy them from an Indigenous artist, not recreate them,” Arnaquq-Baril said.
Traditional Inuit tattoos, featured prominently in the show, are another powerful expression. Arnaquq-Baril, who directed “Tunniit: Retracing the Lines of Inuit Tattoos,” emphasized, “Inuit tattoos are for Inuit, and not for people outside our community.” Designs by Zorga Qaunaq (who also plays Millie) and Siku Rojas appear in the series, with Lindell noting, “I realized how powerful they are and how healing they could be.”
Practicality meets heritage in the show’s use of real fur – essential for Arctic survival. “Caribou skin, you can’t get much warmer than that,” said Lindell, according to CBC News. Even crew from the South ditched fake fur for real after experiencing the cold.
The series also promotes more fluid expressions of gender. Characters like Neevee and Bun wear what they like, mixing satin with camo, tulle with skull sweaters. “They wear what they want. They don’t care what anyone else thinks,” said Arnaquq-Baril.
“Fashion grounded the show in something more than just a storyline,” said Lambe. “It’s a real reflection of who we are.”
My final thoughts
My final thoughts are in China where the government’s punishment of Guo Zhenming is not just unfair, but also painfully ironic.
Here is a Chinese artist who simply wanted to record the rich sounds and traditions of Uyghur folk music, not for commercial use, not for a global audience, but as a personal artistic journey. And yet, he’s being punished heavily. Fined over 75,000 yuan, stripped of his equipment, and accused of breaking film laws meant for major productions. His “crime”? Documenting a culture that China itself claims to be proud of.
At the same time, the Chinese government is flying Uyghur performers to Europe to dance and sing under the Eiffel Tower. These shows paint a picture of happy, harmonious co-existence, a version of Uyghur life that fits neatly into state-approved messaging. But the reality back home is very different. The very culture being celebrated abroad is under tight control, and those trying to capture it honestly, like Guo, are being silenced.
This is a classic case of double standards. On one hand, China wants to be seen as a promoter of ethnic diversity and cultural richness. On the other, it clings tightly to who gets to tell that story and punishes those who don’t follow the script. You can’t claim to preserve a culture while blocking the people who live it, speak it, play its music, or document its truth.
It’s not just hypocritical. It’s harmful. It shuts down artists. It scares people into silence. It narrows the space for creativity and authenticity. And it sends a dangerous message: that the truth is only allowed when the government tells it.
So, what’s the way forward? First, Guo’s punishment should be reversed. His equipment returned, the fine cancelled, and his name cleared. Second, the government needs to rethink how it applies its laws, especially when it comes to small, personal artistic projects. Not every camera is part of a conspiracy. Sometimes, it’s just about telling a human story.
Finally, if China wants to showcase Uyghur culture to the world, it must start by protecting that culture at home. That means letting Uyghur people, and those who care about them, speak freely. Sing freely. Film freely. Only then can the world believe in the beauty being shown on stage.
Because until that happens, every performance overseas will feel like a mask, covering a reality that so many are no longer allowed to see.
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