The National Emergency Briefing outlines the need for urgent action to address environmental crisis, says PAUL DONOVAN, warning that there’s no time to indulge the arguments of the fossil-fuel-funded climate-change deniers
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‘The people had left their homes, but the birds had not left’
Steve Sweeney talks to Kurdish journalist SEDA TASKIN about taking inspiration from strong women, her time in prison, and her award-winning photo of the ancient town of Hasankeyf, taken shortly before it was submerged as part of a controversial dam project
Seda Taskin and her prize-winning photo of the now sunken town of Hasankeyf
Campaigners say criticism of Labour MP Stephen Morgan’s position on Gaza has been met with police intervention and cancelled opportunities for debate. HESTER WOLFE reports
The Committee for the Defence of Iranian People’s Rights warns of escalation danger in Iran war
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The Milburn review presents itself as a plan to help young people into work, but Dr DYLAN MURPHY argues it is laying the groundwork for a harsher benefits regime
Campaigners from across the continent will gather in Brussels on June 14 to oppose Europe’s accelerating militarisation and cuts to public services, write MAGGIE SIMPSON and BOB ORAM of No Cold War Britain
KURDISH journalist Seda Taskin, a contributor to the Morning Star, was awarded last year’s prestigious Musa Anter award for her photographs of Hasankeyf, an ancient city that has been submerged in what has been described as an act of “cultural genocide.”
She was jailed for more than a year for her work with the Mesopotamia Agency, a pro-Kurdish media organisation frequently targeted by the Turkish state.
Taskin gave just one sentence in her defence when her case was heard on appeal in May 2019: “Journalism cannot be judged.”
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If true, the photo’s history is a damning indictment of the systematic exploitation of non-Western journalists by Western media organisations – a pattern that persists today, posit KATE CANTRELL and ALISON BEDFORD
JOHN HAWKINS welcomes the passion, grief, precision and elegance of an eloquent witness of genocide