Diab update from TASC

Despite incredibly “Weak Case,” Hassan Diab Forced to Keep Resisting Extradition to France

report from Matthew Behrens of the Campaign to Stop Secret Trials in Canada, tasc@web.ca

July 12, 2011 – Dr Hassan Diab is a Canadian university professor fighting for his freedom, and for his life. The French government wants him to face trial for what they allege is Dr. Diab’s involvement in a 1980 bombing that killed four people. If convicted, he could spend the rest of his life in prison.

There’s only one problem. Dr. Diab’s fingerprints don’t match the suspect’s. His palm prints do not match. The physical description does not match. The handwriting does not match. The allegations against him have been found “weak”, “suspect,” and “confusing” by a Canadian judge. That same judge concluded June 6 that “the case presented by the Republic of France against Mr. Diab is a weak case; the prospects of conviction in the context of a fair trial, seem unlikely.” With such a strong defence, one would think Dr. Diab would be breathing easy. Instead, he is strapped to a GPS monitoring bracelet for which he must pay $2,000 a month (a new version of the Dickensian debtors’ prison, in which your freedom is now dependent on your ability to pay the state’s surveillance costs), barred from leaving his home without a court-approved monitor, and faced with a curfew worse than that imposed on most 10-year-olds. He cannot teach, his home is frequently invaded by RCMP agents, and he lives with the unimaginable stress that he might spend the rest of his life in a small French jail cell.

PRESUMPTION OF GUILT
How could such an outrage occur? Under Canada’s extradition law, the duty of a Canadian court and the Minister of Justice is, first and foremost, to the government seeking an individual. That individual no longer enjoys the rights that are supposed to be accorded everyone else in this country facing the deprivation of their liberty. Canadian standards of evidence are thrown out the window. The case against the individual is presumed to be reliable, regardless of how many inaccuracies, errors, omissions, and contradictions are contained within it. One cannot present evidence to show one’s innocence, and the requesting state need not present any evidence of that innocence.

The deck is clearly stacked yet, as the Supreme Court of Canada has found, extradition is, in the end, not a legal issue, but a political decision: is the government of Canada willing to risk its relations with one of its extradition partners, or is it willing to sacrifice one of its citizens (or a refugee or permanent resident who is also sought) in the name of maintaining happy diplomacy?
In all extradition cases, the argument goes, an individual sought by another country can “sort out the mess” upon their arrival in a foreign jail. It is a process fraught with danger: a foreign government can carry out a persecution by proxy using the extradition law, claiming it has a case against a political pain in the neck living in Canada, presenting what amounts to a “prima facie” case without needing to vouch for the case’s accuracy.

In the Diab case, the French government seems intent on “solving” the mystery of the 1980 bombing at any cost, even if that means nabbing someone who appears to be the victim of mistaken identity. Their main piece of evidence is an “expert” handwriting report by someone who has a degree in biology and forensics and who only took 21 hours of training in expert handwriting analysis.

QUESTIONABLE FRENCH METHODS
What was known as the Bisotti report was subject to a great deal of scrutiny during the extradition hearing, including three blistering critiques by internationally renowned handwriting experts. Indeed, the government of Canada declared that the case all came down to the handwriting, though it took numerous kicks at the can in coming to this very weak conclusion. In fact, both France and the Attorney General withdrew previous handwriting reports when it was revealed that they were based on handwriting samples that were not even written by Dr. Diab..
“Although I could not conclude it was manifestly unreliable, it was nonetheless highly susceptible to criticism and impeachment,” Judge Maranger wrote of the handwriting evidence. Indeed, he went on, “evidence presented on behalf of the person sought has largely served to substantially undermine the French report; it has been shown to be evidence that is susceptible to a great deal of criticism and attack.

“The Bisotti report has been shown to be based on some questionable methods and on an analysis that seems very problematic. The use of two completely separate signatures, i.e. Hassan Diab’s and an illegible fictitious signature, as a means of doing handwriting comparison analysis seems illogical…I found the French expert report convoluted, very confusing, with conclusions that are suspect. Despite this view, I cannot say that it is evidence that should be completely rejected as “manifestly unreliable”.

It’s not just the weak handwriting evidence that is problematic. Maranger wrote that he accepted the Canadian government position that “there is no responsibility upon a requesting state to provide full disclosure of all of its evidence.” Hence, 10 witnesses can testify that an individual was not at the scene of the crime, but someone’s life in Canada could be uprooted and ruined because of
the fact that the French, or any other government, can cook up a case that suits their needs and exclude exonerating evidence.

Maranger also notes that the Record of the case (ROC) as originally presented by France — in French, a language Dr. Diab does not speak – was “replete with seemingly disconnected information….while providing some conventional evidence, [it] also contained a great deal of argument, hypothesis, conjecture, and references to information received, without describing the source of that information or the circumstances upon which it was received.”
This, in essence, is secret, “unsourced” information. Where did it come from? Was torture involved?

The ROC also includes information that it gleaned from “a series of reports and newspaper articles,” hardly the stuff that would normally be accepted in a court (but which is normally included against individuals stigmatized by the Canadian government, such as refugees and, in the past decade, Muslims facing secret hearing security certificates and Tamils fleeing genocide.)

MAJOR MISREPRESENTATIONS
Diab’s lawyers raised nine specific issues of misrepresentations including omissions, inaccuracies, and contradictions in the French case, all of which they said amounted to an abuse of process. Maranger found there was an “air of reality” to the arguments put forward by Diab’s legal team, but in the end, he again dismissed them.
Indeed, Maranager bends over backwards to honour the French case, despite making statements such as “Although it was a blatant error requiring an explanation, I cannot find that it constitutes a complete failure of due diligence,” and concluding elsewhere that a problem in the record “was an inadvertent error.” How would he know? And more importantly, how can such problems be so easily dismissed in favour of the requesting state? In another instance, Maranger says “this was clearly a mistake on the part of the requesting authority that should have been corrected.” But it wasn’t. Verbal slap on the wrist to the French, an extra set of leg irons for Dr. Diab.
Under extradition law, Maranger says, there is “a presumption that evidence contained in the ROC is reliable.” So much for the presumption of innocence that is supposed to belong to the person sought.

Maranager found Diab’s defence was “compelling, and forcefully argued,” but that in the end, this did not matter, adding “to use standards of admissibility derived from Canadian criminal law…runs afoul of the governing statute.”

And so, like an Alabama judge convicting Rosa Parks for sitting in the front of the bus (the old “the law is the law and we cannot stray from it” approach that has sustained too many injustices to recount here), Judge Maranger offered up Hassan Diab as a sacrificial lamb on the altar of good relations with the French government. While washing his hands of any responsibility for this decision, he attempted to temper the view of him as a rubber stamp by stating that although he believes that the case was weak, “it matters not that I hold this view. The law is clear that in such circumstances a committal order is mandated.”

But Maranager’s bold statement is not backed up by the facts or the law, and contradicts the quotation he borrows from the Chief Justice of Canada’s Supreme Court, who wrote in the leading extradition case: “I take it as axiomatic that a person could not be committed for trial for an offence in Canada if the evidence is so manifestly unreliable that it would be unsafe to rest a verdict upon it. It follows that if a judge on an extradition hearing concludes that the evidence is manifestly unreliable, the judge should not order extradition.”

Hence, Maranger on the one hand says there is a strong likelihood that the French, in a fair trial, would not secure a conviction given a fair trial – and there is clearly no guarantee of a fair French trial for Dr. Diab – but on the other, draws a conclusion that is completely opposite to a higher court judge’s direction in extradition cases. If the case for “manifest unreliability” is that a conviction would likely not be registered, it is difficult to understand how Maranger can say that the case against Dr. Diab – which he admits is too weak for a conviction – is not manifestly unreliable.

UNEVEN CANADIAN STANDARDS
In addition, as Diab’s lawyer, Donald Bayne, pointed out subsequent to the ruling, if the case had been heard in British Columbia, Diab would be a free man today, for their courts rule differently than Ontario courts on extradition cases.

“The British Columbia Court of Appeal decided there ought not to be an extradition if that is the nature of the extradition case, so Dr. Diab today would be walking a free man in Vancouver had this case been conducted there and in Ontario he is behind bars,” Bayne said. “That is a situation that is simply untenable in Canada, that Canadians are subjected to totally different standards depending on where they live. I would suspect that would attract the attention of the Supreme Court of Canada.”

While some have asked why Dr. Diab doesn’t simply throw in the towel and go to France an
d “sort out the mess,” the answer is simple: France has been criticized by the international community and is currently before the European Court of Human Rights for violating Article 6 of the European Convention on Human Rights – the fair trial right –for running terrorist trials based on secret, anonymous intelligence.” In addition, why should someone give up their life in Canada and risk spending years fighting in another country, especially given the slipshod “case” against them?
The Diab case is a wake-up call for everyone in Canada, for the ease with which an everyday regular life can be disrupted by such a case is frightening. While Dr. Diab is launching an appeal that could very well go to the Supreme Court, he and his partner, Rania Tfaily, have a long struggle ahead of them.

Individuals concerned about the ease with which basic human rights can so suddenly disappear in these cases can get involved on many levels:

WHAT YOU CAN DO:

1. Write to the Minister of Justice, Robert Nicholson, and urge him to stop Dr. Diab’s extradition. Email: rob.nicholson@parl.gc.ca

2. Help ease the huge financial burden carried by Hassan and Rania. We are seeking 100 individuals who can pledge $20 or more a month for the rest of the year to help pay the cost of the GPS monitoring. If you are willing to be a proud supporter of Hassan’s right not to be subject to detention if he cannot afford the cost of state surveillance, please email us at diabsupport@gmail.com OR visit http://www.justiceforhassandiab.org/donate

3. Sign the statement “A Shock to Our Conscience and an Affront to Liberty” (located at http://stopextradition.diabpetition.org/

To sign, simply send an email to diabsupport@gmail.com letting us know that you wish to sign

4. Help organize an event in your community about Hassan’s case and the extradition law.

5. Post details about the injustices in Hassan’s case on your facebook or myspace

6. Write to newspapers and to journalists about Hassan’s case and the unfairness of Canada’s extradition law

More info: Justice for Hassan Diab committee
(report from Matthew Behrens of the Campaign to Stop Secret Trials in Canada, tasc@web.ca
Bread and Roses Life, L. Rogers

Pollinators Festival, Saturday June 25th

Calling all artists who love the birds and bees!


The Pollinators Festival is coming to Evergreen Brick Works on Saturday June 25th, 2011. The Festival is in honor of International Pollinator Week and seeks to raise awareness and appreciation for the birds, bees, flies and butterflies that pollinate our fruits, veggies and flowers.

We want to integrate the arts into the festival and will do so by hosting a community art exhibit. We are looking for any pollinator-inspired artwork (poetry, paintings, photographs, etc) to share with the public. If you have any existing work of anything pollinator related, send it to us. If you don’t have anything yet, go outside and make something! Please email a jpeg of your work to Madeleine.lavin@gmail.com by June 15th, 2011. We will print a copy of your masterpiece and hang it up at Evergreen Brick Works during the Festival. With your permission, we will sell the work and donate all of the proceeds to Pollination Canada.

Help us spread the word and pass this on to your artist friends. The exhibit is open to all!

Here are the details about the festival (see attached flier for more):

Saturday June 25, 2011

9 am-2 pm

Evergreen Brick Works (map)

Join us on Facebook here.

Sabrina

Bread and Roses Life, L. Rogers

Young Artists: Leadership Training in Mural-making

Youth Artists are invited to apply for

Off the Wall: Leadership Training in Mural Making – 2011

CERTIFICATE PROGRAM

A free training program for leadership development in mural art production and project management.

For youth mural artists

APPLICATION DEADLINE: 5:00 p.m. Tuesday, April 26, 2011

Class schedule: May & June – Tuesdays, 4pm – 6pm. Start date May 10

June/July – Saturdays, 11am – 4pm

Total = 60+ hours of classroom and hands-on instruction

LOCATION: The Hub, 2660 Eglinton Avenue East (at Brimley) for in class instruction.

Onsite and hands-on class locations will be confirmed later.

This course is free for qualifying youth artists who show a serious interest in furthering their knowledge and skills in mural art.

To qualify, you must:

· Be 16 years or older;

· Have completed a minimum of Grade 11 art class or equivalent

· Demonstrate interest in large scale outdoor painting and community public art

· Be prepared to commit to completing the full Leadership Training in Mural Making Course

· Have previous experience working in mural art or similar visual art

· Attend an interview on May 3, between 2:00 p.m. and 6:30 p.m.

How to submit an application:

1. Fill in the application form

2. Send completed form with resume & some images of your work; or link to images of your artwork

by email to: program@muralroutes.com or

deliver to: Mural Routes, 1859 Kingston Road, Scarborough, ON M1N 1T3

or to : Scarborough Centre for Healthy Communities, The Hub, 2660 Eglinton Avenue East, Scarborough, ON M1K 2S3

3. Write “LEADERSHIP TRAINING APPLICATION” in the subject line of an email, or on the outside of your submission.

4. Applications must be received by: 5:00 pm, Tuesday, April 26, 2011

What you can expect from the Course:

A specialized curriculum designed to cover all of the basics of mural art production
Training to improve your knowledge and skills to obtain work in the field
Instruction by qualified artists and instructors
Opportunities for summer mural artist apprenticeships
Assistance with future work placement
Mural Production: Resource Handbook
Course material / Leadership in Mural Art training manual
A Mural Routes Certificate of Achievement
Class size: 15 – 20

Curriculum includes:

· Budget and Project Management

· Client and community relations

· Mentoring, Health & Safety and Equity Training

· Drawing & Painting

· Hands-on instruction; working with different materials;

· Independent Study assignment

For complete course outline please see www.muralroutes.com

Course Supervisor: Karin Eaton, Executive & Artistic Director, Mural Routes

Course Leader- Program Manager: Rob Matejka, Artist/Educator

Questions? Contact Karin Eaton at 416-698-7995 karin@muralroutes.com

Or Rob Matejka at robmatejka@hotmail.com

This program is produced by Mural Routes in partnership with Arts for Children & Youth, Big Brother Big Sisters of Toronto, Scarborough Centre for Healthy Communities, Action for Neighbourhood Change and Urban Arts.

We gratefully acknowledge the support of the Government of Ontario through the Programs and Services Branch of the Ministry of Tourism and Culture and the City of Toronto through the Innovation, Opportunity & Prosperity Program

—————————————————

APPLICATION FORM

Off the Wall: Leadership Training in Mural Making – 2011

NAME:

ADDRESS:

POSTAL CODE:

PHONE:

EMAIL:

AGE:

LIST PREVIOUS ART CLASSES, WORKSHOPS OR OTHER RELEVANT TRAINING:

PREVIOUS EXPERIENCE IN MURAL OR VISUAL ART WORK:

BRIEF STATEMENT – WHY I WANT TO ENROLL IN “LEADERSHIP TRAINING IN MURAL MAKING” COURSE:

Don’t forget to include a resume and samples of your work or a link to images of your art work.

Karin Eaton
Executive Director
Mural Routes
416-698-7995
karin@muralroutes.com
www.muralroutes.com
http://muralroutes.wordpress.com/
http://thebridgingproject.blogspot.com/

Bread and Roses Life, L. Rogers

Is it the product or the process that makes for good art?

One time my husband and I took our daughter-in-law, a Chinese electrical engineer to an art show and she was frankly puzzled by the paintings. She asked, “why would you paint a landscape when you can have a much more accurate picture with a camera?” Neither the idea of preserving an artistic practice, nor any theories about the value of an individual’s vision rendered in paint on canvas cut any ice with her. To her scientific mind, only the product was important, and the more efficient the process, the better.

That experience came back to me as I read an article by Ryan Blitzstein about software created by David Cope to compose music. David Cope has taken serial music to the next level, in which a computer program generates whole works based on the algorithms supplied. While there is a human factor deciding what to put in and what creations to save or accept, is this different than the decisions of a photographer? While we accept that photography can be an art, it is a very different art form from painting. Has David Cope developed a totally new art form with his “Emmy” software. Do we accept his contention that the impact of the composition on the listener is more important than the creative process of the composer; that it is “just dots on the page” and “there is no soul in the music” itself.

Is it the container or the thing contained that makes, art? Is Cope correct that a composition contains nothing but arithmetical progressions of notes and what is made of them is in the mind of the listener.

US survey shows grantmaking fell 8.4% in 2009

The Non-profit Times reports that during 2009 the amount of grants awarded by 75,000 foundations across the USA fell 8.4 % from the prior year. This despite foundations cutting costs of their own operations. The article predicts that US foundation giving will remain flat at the current level for the foreseeable future.

Bread and Roses Life, L. Rogers

New Mind Space's Pillowfight May 8

Feathers fly and teddies soar as you converge for a giant urban pillow fight! Swing and whack as you evade pillow-wielding assailants. Bring a soft pillow at 3 PM and wait for the signal. Pillow fight!

Come say goodbye to Yonge-Eglinton Square – it is being bulldozed later this year so more stores can be built.

Costumes and funky pillows encouraged 🙂

Pillow Fight Toronto
Yonge-Eglinton Square @ 3:00 PM
Saturday, May 8th 2010
Rain or shine! Free and all ages!
facebook

Bread and Roses Life, L. Rogers

Arts Presentation Contracts

In the arts it sometimes seems that there are endless varieties and shades of collaboration, partnership and co-presentation agreements possible. But when I was first working in the concert department of a major orchestra, I was told that really there were only three types of presentation contracts:

1. Self-present
2. Contract of Services
3. Co-present

Most difficulties that occur, happen when the type of contract is misunderstood or all aspects of the arrangement are not defined and signed off on by both parties.

Self-presentation:
If my arts organization is “self-presenting”, we are responsible for the artistic content, all the costs, raising the money for the project, marketing, and all the ticket revenues are ours. We may be presenting in a venue we own or we might be renting a venue. In a rental venue we might be subject to some house rules and we might have access to some inhouse marketing vehicles (a lobby lightbox or an e-newsletter). We need to sign a contract for the rental agreement but at no time should our self-presented concert be represented by the venue as a part of their series. If they wish to change the nature of the relationship to a co-presentation agreement, you should be looking for concessions on rent, etc.

Contract of services:
Your organization, company, church, or event is hiring the services of my arts organization. For example your church wishes my orchestra for an Easter concert. You can request specific repertoire if you are willing to pay the costs of the orchestra learning new repertoire or save money by taking our suggestions. You set the time of the concert, are responsible for all ticket sales, all revenue is yours if the event is ticketed. The orchestra is paid a flat fee that we have determined will cover our costs for the event. We will have to assure in our contract that we don’t incur extra costs. The things we will need to assure in the contract are: the repertoire, start and finish times for the concert, where the orchestra can warm up and securely leave their belongings during the performance, when the orchestra can take the stage, meal arrangements for the orchestra (if applicable) and orchestra name/logo recognition on advertising and materials.

Co-presentation:
My orchestra and your choir decides to co-present an Easter concert . We will have to determine:

1. Who determines the repertoire and who pays for the rental sheet music?
2. Who pays for the hall?
3. Who is going to pay for and supervise the marketing campaign and what sign-off will be needed by the other organization?
4. How will ticket sales be divided? What about series subscribers? Are their seats included? Where will they sit?
5. How are we each going to make money? Split the sales 50/50 or some other arrangement that is equitable balanced against the cost sharing arrangement?
6. Who is responsible for rehearsal costs?
7. What spaces will each organization use in the hall and for what periods of time?

Is it really necessary to spell these things out in a contract? In my experience it is, especially in the complex arrangements of Co-presentation agreements. I have seen the following problems occur in co-presentations that were uncontracted or with a very vaguely worded agreement:

1. Misunderstandings about the amount of tickets available for sale by each organization.
2. Unhappy subscribers who thought the concert was included in their subscription but no seats for them had been negotiated.
3. One partner representing the concert as though it was theirs alone. (no agreement on sign off on marketing)
4. One partner holding up marketing with lengthy tweaks and changes, jeopardizing sales. (no time-lines for approval of marketing).
5. Last minute demands for one organization to pay the rehearsal costs of the other organization. (not clear that each was responsible for their own costs).
6. One organization changing the repertoire and/or time of concert without consultation, confusing artists, public, and rendering promotional campaign invalid. (repertoire and time of concert was not spelled out in contract, nor that such would be by mutual agreement only)
7. And frequent disputes about smaller issues: sheet music rental costs, lobby sales, sponsor signage.

While it is hard to think of everything, I hope this gets any new arts manager asking the right questions about presentation contracts. If you spell out all the obvious issues and finish with a clause that suggests how any new issues will be handled, “at the discretion of X” or “by mutual agreement” you should minimize conflict.

The worst situations have occurred when the parties totally fail to understand the nature of the contract. I once inherited a rather vague co-presentation agreement with a choir. Not too far into the process of planning the concert I discovered that the choir thought the contract was a “contract of services”in relation to what money they expected from us (all their rehearsal costs and music costs covered) and was a “self-present” in terms of their marketing and ticket sales. They had put the concert on their subscription season (exhausting most of their share of the tickets with no additional revenue for them) and had gone on to sell more tickets, double-dipping their ticket share and cutting into our potential revenues. Basically they wanted it both ways, and that’s not how the world works.

If the fundamental nature of the agreement is clear, and the large issues are settled, it is not hard to negotiate solutions to smaller issues as they arise.

Bread and Roses Life, L. Rogers

Would your arts "entry" job be a fit for those looking for an arts "exit" job?

When organizations are thinking about staffing an arts position on a tight budget, they often cast the position as an “entry-level” position because of the parttime nature, low salary, lack of job security and no-benefits nature of the position. Sometimes this judgement is made without consideration of the demands of the job description. In some cases the position IS a great fit for a newly graduated student. In other cases, although few hours are demanded, the skill set needed is varied and requires on-the-job experience for success.

If an organization needs experienced grantwriting, financial management/budgeting, and arts marketing savey, they are unlikely to find that in an entry level staff person. It takes a few years of working in an effective team setting to learn these highly specialized skills. A great fit for such an organization may be an arts worker at the other end of the spectrum, easing into retirement or exiting full time arts administration in order to work on their own artistic or entrepreneurial projects.

Bread and Roses Life, L. Rogers

The Value of Sharing: Social Engagement

You know you are SUPPOSED to market your arts organization with Social Media, but the messages are confusing. What will work to reach your audience? Who shares what? Where?

No one is better placed to answer these questions than the people behind the “Share This” applet, that is most used to link social networking applications (for example post a link from a blog post to Twitter). Their articles and charts are invaluable in deciding which applications you should be focusing on in disseminating your message.

The Value of Sharing: Social Engagement

Posted using ShareThis

Bread and Roses Life, L. Rogers

Arts Vote Toronto says, "I am an Artist and I Vote!"

If you are a Toronto artist, work for an arts organization or you directly or indirectly have business ties with artists & cultural attractions in Toronto (marketers, web designers, printers, hotels & restaurants etc.) then you’ll want to assure that you know which candidates in the upcoming Toronto elections understand the importance of the arts to the quality of life in Toronto and to the tourist economy.
Sign up at Arts Vote today to keep in the picture.

Arts Vote launch rally. 5 pm Tues. Nov. 17 @ the Urbanspace Art Gallery, 401 Richmond

Bread and Roses Life, L. Rogers