Mendi mayhem destroyed 42,000 vaccine shots for PNG children

The blazing Air Niugini Link PNG aircraft at Mendi airport. Image: EMTV News

By Sally Pokiton in Port Moresby

Papua New Guinea’s mayhem in the Southern Highlands capital of Mendi earlier this month caused destruction of 42,000 vaccine innoculations meant for children aged under 5.

The innoculations were ruined when the Air Niugini Dash 8 aircraft was set alight at Mendi airport.

A disgusted Emergency Controller of the Emergency Disaster Restoration Team, Dr Bill Hamblin, said the rampage also saw supplies stored in two warehouse in Mendi looted.

“Not only were supplies stolen up there and resold on the streets, but the plane that was destroyed was carrying vaccines for under 5-year-old children – 42,000 vaccines destroyed,” he said.

“Now we have no replacement for those in the country where UNICEF is trying to replace those at the moment.

“The people who do those sorts of acts don’t belong in our society, they belong behind bars,” Dr Hamblin said.

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“I’ m looking forward to the arrest of those people and that they get to see the full force of the law.”

He thanked all development partners and countries in the region which supported the Emergency Disaster Restoration Team.

“We wholeheartedly thank them for the support they’ve put in, without them, the scale of disaster would have been much worse, people could have died needlessly,” Dr Hamblin added.

Sally Pokiton is a reporter for Loop PNG.

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MIL OSI – Source: Evening Report Arts and Media

Former PCF media intern welcomes Pacific newbies on NZ exchange

Adi Anaesini Civavonovono of Fiji (left) and Elizabeth Osifelo of the Solomon Islands (both of the University of the South Pacific) against the green screen in the television studios during their visit to Auckland University of Technology this week. Behind them are the Pacific Cooperation Foundation’s Suzanne Suisuiki (partially hidden) along with AUT students Leilani Sitagata and Pauline Mago-King. Image: Del Abcede/PMC

By Rahul Bhattarai

It was a case of Pacific meets Pacific in AUT’s School of Communication Studies this week as one of the inaugural winners of the Pacific Cooperation Foundation internships welcomed this year’s new batch of four student journalists from Fiji, Samoa and Solomon Islands.

Pauline Mago-King of Papua New Guinea was a final year communication studies student in Madang when the internships began and she visited New Zealand in 2015 thanks to PCF.

Now she is a master’s degree student at Auckland University of Technology doing research into domestic violence and non-government organisation responses in her home country.

She says she knew the flexibility of the AUT programme was just right for her – “especially when you come from a country where there aren’t enough opportunities for a student to gain experience.”

AUT’s Pacific Media Centre hosted the PCF internship students and director Professor David Robie welcomed them, saying “we‘re just a small programme but with quite a reach, we have an audience of up to 20,000 on our Asia Pacific Report website”.

The PMC, with a small part-time team, covers the region with independent news as well as conducting out a discrete media research programme.

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Three of the students on the two-week internship in New Zealand come from the University of the South Pacific and the student newspaper Wansolwara – Elizabeth Osifelo (Solomon Islands), Salote Qalubau and Adi Anaesini Civavonovono (both from Fiji). The fourth, Yumi Talaave, is from the National University of Samoa.

The interns toured AUT’s communications facilities, including the state-of-the-art television studies and control room.

Pacific Media Centre student journalist Rahul Bhattarai and University of Samoa’s meet King Kong on the AUT television studio green screen. Image: David Robie/PMC

They then visited AUT’s journalism newsroom and media centre.

The students also watched the final editing stages of a short current affairs documentary by two AUT students involved in the PMC’s Bearing Witness climate change project.

Hele Ikimotu and Blessen Tom travelled to Rabi Island in the north of Fiji in April and filmed the documentary Banabans of Rabi: A Story of Survival in the hope of spreading awareness about the impact of climate change in the Pacific.

Their lecturers, Jim Marbrook and David Robie, hope to enter the documentary into film festivals and an earlier video by the students as part of the project gives a glimpse of life on the island.

Suzanne Suisuiki, communications manager of PCF, says these kinds of internships provide the opportunity for Pacific students to gain wider exposure and better understanding of media.

“We wanted interns who had a sense of appreciation of the media industry,” she said.

She plans to next year expand to the wider Pacific region, including Tonga and Papua New Guinea.

Two students were also selected from New Zealand to go to Fiji and Samoa.

The Pacific Cooperation Foundation internship students with Pacific Media Centre students and staff at AUT this week. Image: Del Abcede/PMC

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MIL OSI – Source: Evening Report Arts and Media

Where in the world is the Pacific? NZ researchers talk strategy reset

A diverse group of scholars discuss resetting New Zealand’s Pacific-oriented foreign policy agenda. Video: NZ Institute of Pacific Research

By Sri Krishnamurthi

Debate has been lively and vigorous in response to the New Zealand government signalling a shift in foreign policy towards the Pacific Islands region.

To have a look closer at that debate the New Zealand Institute for Pacific Research (NZIPR) has brought together a diverse group of scholars from the University of Auckland who have research experience in the Pacific to discuss New Zealand’s Pacific-oriented foreign policy agenda, but more broadly to consider “where in the world is the Pacific?”

Associate Professor Yvonne Underhill-Sem (director of NZIPR and Development Studies, University of Auckland) chaired the discussion aptly titled “NZIPR Critical Conversation seminar”.

READ MORE: Browse RNZPR’s Lali blog

It was introduced by Professor Jenny Dixon (Deputy Vice-Chancellor, Strategic Engagement, University of Auckland) and featured Georgina Roberts (Ngāti Porou, Director of Pacific Connections at the Ministry of Foreign Affairs and Trade – MFAT), Associate Professor Damon Salesa (Pacific Studies at the Centre for Pacific Studies, University of Auckland), Dr Mark Busse (senior lecturer in Anthropology, University of Auckland), Dr Lisa Uperesa (senior lecturer in Pacific studies at the Centre for Pacific Studies, University of Auckland) and Associate Professor Chris Noonan (associate dean postgraduate international in the Faculty of Law, University of Auckland).

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“The New Zealand government has invited everybody to think differently about how they do development in the Pacific and it came under this Pacific reset strategy. Winston Peters (Foreign Minister) took himself off to Australia to announce that this is what New Zealand is going to do,” Associate Professor Underhill-Sem said in her opening remarks.

“Since then there has been a lot of fabulous articles, discussion, blogs written about what does this all mean? What do we mean by a reset? And what are we resetting from – but more importantly what do we imagine the Pacific to be, how do we understand the Pacific?

“The question I’m asking [of the researchers] is what are the most meaningful boundaries that they undertake their research in, and hopefully we get an idea of how we can deal with some of the substantive development issues that really haven’t changed regardless of what the New Zealand government has done.

“We still have enduring development issues that need to be addressed.”

‘Shifting the dialogue’
Georgina Roberts of MFAT defined the Pacific reset as “shifting the dialogue” as the perspective of the Pacific changed.

“Statements were made at the beginning of March by the minister around needing to change the approach New Zealand takes with our region and moving from more of a donor-recipient relationship to one of partnership.

“It was about doing things differently, and that was to be underpinned by five key principles that was the basis of the reset, understanding, friendship, mutual benefit, collective ambition and sustainability.”

She said that meant the government had to interact, engage and collaborate with all the parties and stakeholders who had an interest in doing things better with their Pacific partners.

In the budget, the government had decided to allocate $714 million over the next four years in additional overseas assistance to mostly support the “Pacific reset”.

“Where will that money be spent? Climate change is a significant one, human development and this is an area of health and education for example, inclusive development and that means doing more to support youth and women in political representation and value issues, things like human rights, governance and democracy promotion – these are areas that haven’t gained as much attention in the previous years,” she said.

“There are a lot of challenges in our region.”

Working collectively
There were 30 government agencies that were involved in the Pacific and it was the government’s ambition to have them working collectively.

That led the discussion to the historical perspectives of the Pacific and what were the meaningful boundaries both geographically and temporally in the region, presented by Associate Professor Damon Salesa.

“New Zealanders don’t understand what New Zealand is. There are two New Zealands constitutionally – there is the New Zealand proper which is the New Zealand that most New Zealanders think of, that is North Island, South Island, Stewart Island and the Chatham Islands.

“But there is another constitutional entity called the realm of New Zealand which goes as far south as the Ross Territory and Antarctica and as far north as Tokelau, and includes the Cook Islands and Niue.

“So, part of that points out this other history of the New Zealand dollar, New Zealand language and New Zealand passport – those complexities remind us that even New Zealand is a contested, misunderstood concept for New Zealanders,” he said.

That meant there was a lot at stake with how New Zealanders defined the Pacific, and it was particularly important in terms of foreign policy.

It took in the definition of New Zealand’s Pacific, it was very specific in what the Pacific was.

“What New Zealand isn’t is, as seen by the Pacific people who live here.”

‘Two New Zealands’
“If we think about New Zealand as a nation the two most distinctive things about it, are Tangata Whenua (Māori ) and Tangata Pasifika (Pacific peoples). They are what make New Zealand not Australia or Canada. That is something very powerful about that way of being New Zealanders.

“For me the last frontier is finding a place for the Treaty (Treaty of Waitangi) in our foreign policy,” Associate Professor Salesa said.

Dr Mark Busse spoke about anthropological ways of defining the Pacific. He said there were two things that were important to consider – that even small communities, such as the one he lived in, in Papua New Guinea, were affected by international politics and international capitalism.

He said they had a profound impact on the lives of people living in those communities.

“I would suggest that the Pacific is less a geographical space or area, than a set of deep social and historical relationships, its people face large challenges, but I expect they will face those challenges by using values and knowledge that has been passed down over generations,” Dr Busse summed up.

What countries and territories, and their moving demographics and diaspora were considered around the Pacific to be in the Pacific, was Dr Lisa Uperesa’s discourse.

She said from the vantage point of the United States, ongoing migration of Pacific peoples, Micronesians, was shifting with people moving to Guam and Hawai’i.

Largest Pacific city
In the eyes of Americans, they would be surprised to hear that Auckland was the largest Pacific city in the world, the anthropologist and Pacific Studies senior lecturer said.

Her studies concentrated on Samoa and the fact that approximately 400,000 Samoans live abroad, primarily in the US, Australia and New Zealand, compared to 250,000 in American Samoa and independent Samoa.

“I focus on Samoan migration and mobility looking specifically at sport, and this has provided new boundaries of the definition of Pacific peoples and the way they move,” she said.

This project, she said, used sport to think about the history of migration and the place of sport in education and it also helped to reinforce the importance of place and importance of community history and agenda.

“The new Polynesian triangle includes cities like Auckland, Sydney, Honolulu, Los Angeles and Salt Lake City and in this vision the Pacific encompasses geographies and cartographies of presence, it is where Pacific people are,” she said.

Associate Professor Chris Noonan said that from a legal and trade perspective, the Pacific region didn’t exist.

“In the Pacific, the Pacific negotiations were supported by the Pacific Islands Forum Secretariat and funding from Europe through the Pacific Islands Forum Secretariat and negotiations took place because of institutional structures that were in place and not necessarily because the Pacific had a huge commonality,” said Associate Professor Noonan.

He outlined how and why the Pacific region negotiated both as a bloc and as individual countries.

Associate Professor Underhill-Sem said it was important that research in the Pacific was allowed to flourish and be given exposure through discussions like this “critical conversation”, which will be an on-going event on the NZIPR calendar.

Postgraduate AUT Pacific Media Centre students Sri Krishnamurthi and Blessen Tom (video) reported on the seminar in partnership with the NZ Institute for Pacific Research.

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MIL OSI – Source: Evening Report Arts and Media

Indonesia beefing up disputed Papua border force in bid for minerals

Papua’s disputed border with Papua New Guinea … hunt on for mineral riches. Image: PNG Blogs

By Albert Agua in Waigani

Indonesia is driving towards the Papua New Guinea border because of a recent discovery of huge mineral deposits in the Star Mountain regency just at the back of Tabubil Ok Tedi mine.

“Reportedly, there is gold, copper, coal, and thorium – a safer radioactive chemical than uranium,” says president-director of PT Antam Tato Miraza, who was then Director of Development, reports Pusaka.

“Geological Survey shows its potential is good and promising.”

READ MORE: West Papua Liberation Army behind deadly Nduga attack

The core of the deposit is, however, found in the disputed area of the border between PNG and Indonesia.

The claimed Papua border “shift” – the red zone near Ok Tedi mine. Source: PNG Blogs

Recently, Indonesian troops patrolled to Korkit and surveyed the land just around 40km from Ok Tedi, less than 10km from the border marker in the Korkit village to build another military base.

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The citizens from Korkit village who are PNG citizens are moving into the new Indonesian village.

This is just 20km from the mineral deposit area.

Thorium, a weakly radioactive element that can be used as fuel in a nuclear power reactor, has been discovered in the disputed area and this has been the sole driver for Indonesians to force themselves into the disputed territory.

Also the “explorers” are actually the military carrying out the exploration.

The Indonesians have been transporting mining supplies to the area and the locals are prepared to wage war if the exploration continues under heavy military security.

Wutung border improvements
Meanwhile, major improvements in infrastructure and capacity are planned for the PNG-Papua border at Wutung, reports Loop PNG.

The improvements are planned as part of the PNG government’s West Sepik Special Economic Zone (SEZ).

National Planning Minister Richard Maru and delegates of a fact-finding mission to West Sepik visited the border area last week.

Loop PNG also reports that an international bus service and terminal are planned for the Wutung border post.

Albert Agua is an academic at the University of Papua New Guinea.

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MIL OSI – Source: Evening Report Arts and Media

Bainimarama attacks opposition ‘lies’ for promoting Fiji ethnic hatred

Fiji Prime Minister Voreqe Bainimarama giving a public address. Image: The Fiji Times File

By RNZ Pacific

Fiji’s prime minister Voreqe Bainimarama has again hit out at opposition parties, calling them liars and accusing them of sowing division in the ethnically diverse country.

Bainimarama devoted much of his speech at the opening of a provincial council meeting in Fiji’s west to sharp criticism of his opponents.

He accused them of infighting, peddling lies and promoting hatred between different religious and ethnic communities.

In his most critical speech yet during election year, Bainimarama spoke out against talk of a Muslim or Chinese “takeover” of Fiji.

He said it made him angry to hear of Muslims being pitted against Hindus and provincialism in the indigenous iTaukei community.

Sayed-Khaiyum defended
He defended the Muslim Attorney-General, Aiyaz Sayed-Khaiyum, who he said had made great contributions to Fiji’s development and was a trusted partner and friend.

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Bainimarama said Fiji Muslims, like every other citizen, were an integral part of the nation.

He said there was no chance of a Chinese takeover in Fiji and Fiji owed China only 10.6 percent of total national debt.

The prime minister said his government had delivered genuine change and that would be seen in the budget due to be delivered today.

With the election date still to be announced, Bainimarama urged people to use their vote wisely.

The Pacific Media Centre has a content sharing partnership with RNZ Pacific.

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MIL OSI – Source: Evening Report Arts and Media

Licensing music for short films

MIL OSI – Source: Show Me Shorts Film Festival

Headline: Licensing music for short films

Many a filmmaker has found themselves in hot water after not correctly gaining the required licenses and permissions for the music in their film. Here we have collected some advice on sourcing music for short films and obtaining the rights.

When do you have to license?

A license for the rights to the music is always required if you want to use it in your short film. You will need to gain permission from the owners of the music. Even if you just want to load it up on YouTube. Only videos made exclusively for private use are exempt from licensing.

What’s the process?

Essentially you pick the song, find out who owns the copyright and request their permission to use it. After this, you will need to negotiate the fee for the music, draw up a contract and then wait until you get the green light!

TIP: Remember to request permission across all territories and all media. Otherwise you might not be able to sell the film in certain countries, or load it up to VOD platforms.

Bear in mind that songs from high profile artists like The Beatles or The Rolling Stones will take longer to obtain permission, and will likely require deep pockets. If you want to keep costs down, choose songs from small, unsigned or local artists. They might be open to an agreement that is mutually beneficial.

Find out who owns the rights

Every recording has two individual copyrights. There is the person who wrote the song (they hold the publisher rights, aka ‘sync’ rights) and the person who recorded it (who holds the ‘master’ rights). In many cases, you’ll need to contact both the copyright owner of the musical composition and the copyright owner of the specific recording you’re using.

ASCAP is the go-to source of information about writers, performers, publishers, and alternate titles for copyrighted songs.

OneMusic is a joint initiative between APRA and Recorded Music NZ to provide efficient blanket music licenses.

Request the music rights

Once you have identified the rights holder/s, you should submit a synopsis of your film and the project’s budget for this piece of music. Provide as much detail as possible on how you intend to use the song. Is it over the opening or the closing credits? How heavily is the song featured in the film? Is it the focus of the audience’s attention or does it just play in the background? Mention the number of times the song will be used, the exact duration and placement for each use. Specify where you are planning to screen the film if you know this already. Mention some specific film festivals you are planning on entering.

Obtaining a music license for a film can be daunting for first time filmmakers. It requires custom negotiations with those who hold the copyright. While the song’s popularity and the prominence in the film usually determine the fee. The duration the song plays is not a contributing factor. However, if a song plays over the credits be prepared to be charged double.

Here are the four types of rights you will require:

  1. Synchronization (sync) License: These cover the composition and lyrics of a song. They also cover the right to synchronize a song or a piece of music with your visual image.
  2. Master Use License/Dubbing License: These cover the recorded piece of music. It is the right to reproduce a specific recording of a song in your film or other audio-visual content.
  3. Mechanical Rights: You need to clear these if you plan to duplicate your film and sell it on DVD. This is done through the rights society or directly with the music publisher.
  4. Performance rights: These need to be cleared if you film is going to be screened on TV or hosted online.

TIP: If you intend to record a cover version of a copyrighted song you still need to clear the sync rights, and also possibly the mechanical rights with the publisher, even if it’s just a character singing a few lines of a song in the background.

Copyright holders can set any fee they like or outright reject the license. It’s important to remember that musicians put time and effort into creating their song the same way filmmakers do. Approach musicians and copyright holders from a place of respect and collaboration from one creator to another for your best chance of securing an affordable fee. Tell them about your project (briefly), as they may be more likely to offer a lower fee if they like the sound of your film.

Film Music Agent offers stock agreements for you to use. This includes the request letters, festival licenses and general licenses for composers the master, synch and rights.

TIP: Be careful when selecting a pre-cleared song that it doesn’t strongly resemble a well-known tune. Remember when Eminem sued the New Zealand National Government for $600,000? That was because the National party’s use of a track titled Eminem Esque was “sufficiently similar” to Eminem’s original song that it impinged on his copyright.

Is there an easier way?

If you can’t afford to pay for music, or need to get it cheaply and quickly there are a number of other options.

Public Domain Music is free to use. Music is considered to be in the public domain if it meets any of the following criteria:

  • All rights have expired. This is usually 50 years after the artist’s death, but can extend up to 75 years in some countries.
  • Copyright protection was never secured.
  • The authors have explicitly put a work into the public domain – in all countries.

TIP: If the composition and the lyrics were written at different times, there may be two different copyright terms. Re-mastered recordings may also result in a new copyright.

Musopen is a repository of music in the public domain. The site provides recordings, sheet music, and textbooks to the public for free, without copyright restrictions.

TIP: Just because an artist is deceased doesn’t mean you can use their music. The work of some musicians, Elvis for example, could still require approval from that artist’s estate.

Incidental music rights for free is not a thing. Many people say that using up to 30 seconds of copyrighted music qualifies as fair use. This is a myth. Including any background sounds protected by copyright in your video could make you liable for infringement if you don’t obtain permissions.

TIP: If you’re a shooting a documentary where music is playing prominently in the background make sure you get signed permission agreements.

Production Music Libraries might be the most cost-effective option for your film. The music in these libraries is pre-cleared as they own the sync and master rights. You can purchase this music at set rates.

  • Musicbed grants a Synchronization/Master Use License. Music licenses purchased from the Musicbed website are granted for a perpetual term. This means the license does not expire or lose legitimacy.
  • Audio network offers licensed music that is valid globally, forever and across multiple platforms.
  • Premium Beat offers music with a Standard License that covers the usual popular types of use, e.g. internet videos, corporate videos and all non-commercially distributed projects. This license can be used for an unlimited number of projects, worldwide in perpetuity. They also offer a Premium License that covers advertising, TV, radio, in theatres and at events.
  • Art-List is a yearly subscription music licensing service that offers unlimited access to the entire catalogue of music for use in any private or commercial video production on any platform worldwide.
  • Sound Cloud offers a variety of high-quality tracks and most of the artists are unsigned. As long as the track is original, with no samples, you can contact and negotiate directly with the musician on obtaining the rights to their song.

CASE STUDY: Sean Baker, director of the critically acclaimed film Tangerine sourced the majority of the music in his film through the Sound Cloud and MUSOPEN platforms. The best Baker could offer his musicians was $200 per song, along with a guarantee they received points on the sale of the soundtrack. The offer wasn’t much but it was one that virtually all of the musicians he spoke to accepted, some even allowing him have their music for free.

Composers are a great way to give your film a unique sound. The Screen Composers Guild of New Zealand represents the majority of working composers who work in film and television in New Zealand. You can search their directory for the composer who would best suit your film. Another option is to get in touch with a university music department and ask them if they can put you in touch with a recent graduate or current student of Music Composition, ideally a Post-Graduate student. The universities of Auckland, Wellington (Victoria), Canterbury and Otago all offer great courses. Who knows you could find yourself the next Hans Zimmer.

Festival Rights are a trap

You can save money on music licensing fees by obtaining permission to use a song, but limited to play at festivals. Why pay for worldwide rights in perpetuity when you don’t need them right now? You can always come back for them later when your film gets a distribution deal, right? Wrong. The rights holders now have leverage over you and can hike up their prices. This will leave you with a difficult choice. Either pay the inflated fee or try to find a different song. This problem may also put off any distributors who are interested in your film as they don’t want to cover that cost when they acquire your film. Try to acquire licenses for the film that are the most long-term and all-inclusive as you can possibly afford from the beginning. If you are unsure of anything it’s best to consult with a music supervisor.




RSF plea to Indonesia to investigate reporter’s death in detention

A journalist has died while in Indonesian police custody after investigating land disputes linked to the palm oil industry. Image: Tempo – Adek Berry/AFP/RSF

Pacific Media Watch Newsdesk

Reporters Without Borders (RSF) has called for an independent inquiry into the death in detention of Muhammad Yusuf, a reporter who was being held in South Kalimantan province, in the far south of the Indonesian part of Borneo, on a charge of defaming a local palm oil production company.

A series of irregularities surround Muhammad Yusuf’s death in the town of Kotabaru on June 10, nine weeks after his arrest because of his coverage of allegedly illegal land seizures linked to the activities of MSAM, a company that operates a huge oil palm plantation in the province, reports RSF.

Yusuf had become well-known for his reporting on the story, writing no fewer than 23 articles for two news websites, Kemajuan Rakyat and Berantas News, from November 2017 to March 2018.

Muhammad Yusuf’s death … “credibility of rule of law in Indonesia at stake,” says RSF. Image: RSF

He was arrested on April 5 as he was about to fly to Jakarta to meet with the National Commission on Human Rights.

After holding him for more than two months, the police say he was taken from prison to a hospital in Kotabaru on 10 June with chest pains, vomiting and breathing difficulties, and died soon after arrival as a result of a heart attack.

“We call on the Indonesian government and supreme court to guarantee a full and independent investigation and to deploy whatever resources are necessary to ensure that all possible light is shed on this journalist’s death,” said Daniel Bastard, head of RSF’s Asia-Pacific desk.

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“The credibility of the rule of law in Indonesia is at stake because of the many doubts surrounding this case.

“What with his critical reporting, the appearance of collusion and a lack of transparency, there are many reasons for suspecting that Muhammad Yusuf died because of his journalistic work.”

Strong suspicions
Yusuf’s wife, Arvaidah, had requested his release three times on medical grounds because of concern about his state of health. After his death, she was denied access to the morgue and to the autopsy results. Convinced that his death was “not natural,” she has filed a complaint against the police and district attorney, who were jointly responsible for detention.

Many people question the independence of the police and district attorney’s office in this matter. South Kalimantan’s governor is the uncle of the wealthy businessman who owns MSAM, the company targeted by Yusuf’s reporting.

According to Tempo, a leading Indonesian news website, bruises on the back of Yusuf’s neck can be seen in a video of his body.

All these suspicions prompted the National Commission on Human Rights to announce last week that it was opening an investigation into his death.

Indonesia is ranked 124th out of 180 countries in RSF’s 2018 World Press Freedom Index.

The Pacific Media Centre is an associate of Reporters Without Borders in media freedom work.

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MIL OSI – Source: Evening Report Arts and Media