Présumé(e)s coupables

ARIANE NISHIMWE

In a collaborative effort between the research group Deradicalizing the City at KU Leuven and the esteemed theatre troupe Ras El Hanout, an innovative and educative theatrical piece, “Présumé(e)s coupables” was showcased in Brussels. Ras El Hanout is a Brussels-based theatre group and association, known for its dedication to addressing sociopolitical issues through compelling performances. The collaboration brought yet another powerful narrative to life; this piece was not only a deep dive into the intricate dynamics surrounding deradicalization processes in Belgium but also a revelation of the consequences of the surveillance system, especially in post-terrorist attacks in European cities. Based on the real-life experiences of Hatem, a Muslim man who encountered numerous challenges due to his beliefs, the theatre unfolded over two consecutive last weekends of May 2023. By challenging the prejudiced assumption of guilt based on religion, the theatre sought to raise awareness about the urgent need for fair and just approaches to tackling radicalization by exposing the dangers of systemic surveillance.

"Présumé(e)s coupables" took the form of a theatre conference, blurring the boundaries between the stage and the audience. This dynamic format removes the traditional boundaries between actors and spectators, forging a collaborative atmosphere where the audience are not merely passive observers but become part of the play by actively engaging with the unfolding narrative through a pivotal link character. The performance commenced within a classroom setting, where a discussion on the freedom symbol represented by Charlie Hebdo ensued. Hatem, the Muslim protagonist, expressed dissent and challenged Charlie Hebdo's statements, but he could not finish expressing himself as he was constantly cut off by both the professor and the students who questioned his opinions and labelled them problematic, resulting in the professor reporting him to the authorities. This particular scene illustrated the skewed perception of freedom of speech, which in this case appeared to be a luxury afforded to some, but not all. Hence, this incited a series of questions within the audience, delving into the difficulty of challenging some statements without being viewed as radical. These thought-provoking scenarios compelled the audience to confront the complexities of identifying genuine threats while avoiding stigmatization and unfounded assumptions. One particularly concerning case involved the alleged radicalization of a 6-year-old child who failed to observe a night of silence. Such examples prompted critical reflection on the culture of reporting, leading one audience member to inquire, “Does the increasing prevalence of reporting not raise fundamental questions for teachers who are part of the monitoring process?” The teacher character responded, emphasizing Belgium's commitment to neutrality.

As the storyline unfolded, Hatem's journey led him to secure a position as a translator at the Ministry of the Interior, a promising opportunity marred by a brief tenure, as his file became red-flagged during the security attestation screening process—a measure routinely undertaken for certain employees, including those at FPS Interior. Hatem embarked on a legal battle, ultimately winning his case with the help of his lawyer. However, the conclusion of the theatre revealed that Hatem's triumph was an exception rather than a systemic indicator of progress. Injustices stemming from surveillance procedures continued to plague individuals, highlighting the systemic challenges that persist within deradicalization efforts and the pressing need to address the gaps and biases that hinders its effectiveness.

Following the theatre performance, the real-life Hatem joined the ensemble for a post-show discussion further illuminating the complexity of the topic. Professor Fadil, an expert in the field, highlighted the prevalence of untold testimonies as individuals fear the repercussions of sharing their experiences openly. The complexity nature of deradicalisation, encompassing multiple intertwined factors, makes it difficult to devise a single comprehensive solution. Nevertheless, the audience collectively concluded that creating safe spaces for sharing testimonies and sensitizing organizations to these pressing themes were imperative steps towards progress.

Briefly, "Présumé(e)s coupables" was not just a work of art but a reflective mirror held up to society, revealing the flaws we often choose to overlook. It served as an influential catalyst, illuminating the multifaceted challenges surrounding deradicalization processes. Through Hatem's story, the theatre exposes the injustices faced by individuals like him and initiates vital conversations, it urged society to confront the biases embedded within surveillance practices. This groundbreaking theatre is a reminder that the macro policies and surveillance systems, while intended to protect, can often entangle innocent lives, casting them into shadows of doubt and prejudice. The surveillance and its consequences, depict a society grappling with fear. This fear, however, manifests in ways that create a palpable divide. The policies that oversee these surveillance measures, while formulated with security in mind, often overlook the broader implications they have on individual freedoms. In Hatem’s journey, we witness firsthand the life-altering consequences of such measures, the stifling of voices, and the suppression of dissenting opinions. The play begs the question: In our attempt to secure our society, have we inadvertently birthed a more divisive, suspicious, and prejudiced world? The biases against Muslim communities, particularly in the wake of global incidents, have seeped into the fabric of daily life, impacting individual narratives in ways we may not fully comprehend. The societal litmus test of freedom of speech seems to be unevenly applied, putting specific communities under a more scrutinizing lens.

However, "Présumé(e)s coupables" goes beyond simply highlighting these issues. It nudges its audience towards introspection, to ask themselves about their own biases, about the systemic issues that might be lurking in their surroundings, and about the many Hatems that might be living amongst them. It serves as a call to action, a call to reassess, reevaluate, and reconstruct our societal systems to be more inclusive. In the broader context of Belgium’s efforts in deradicalization and counterterrorism, it is crucial to uphold fundamental principles of justice, empathy, and open dialogue, forging a path towards a more inclusive and just future. Therefore, the theatre’s profound impact extends beyond the confines of the theatre hall, urging individuals, organizations, and policymakers to engage in critical self-reflection and in deeper dialogue about the society they wish to shape. The challenges of surveillance, prejudice, and systemic issues won't vanish overnight, but through continued dialogue, introspection, and most importantly, action, we can pave the way for meaningful change. The significance of this play extends beyond its runtime. It's an urgent reminder of the need to challenge the status quo, to amplify marginalized voices, and to constantly reassess our societal frameworks; hence we can cultivate a society that is resilient, inclusive, and unwavering in its commitment to justice. through such collective efforts, we can forge a path toward a future where no one is Présumé(e)s coupables solely due to their religious or ideological beliefs but where innocent until proven guilty isn't just a legal maxim but a societal one.