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Home»News»Global Free Speech»UAE arrests South Sudanese political commentator Samuel Peter Oyay
Global Free Speech

UAE arrests South Sudanese political commentator Samuel Peter Oyay

News RoomBy News Room12 months agoNo Comments2 Mins Read3 Views
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UAE arrests South Sudanese political commentator Samuel Peter Oyay
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Washington, D.C., October 7, 2025 — The Committee to Protect Journalists calls on authorities in the United Arab Emirates to explain the detention of South Sudanese freelance commentator Samuel Peter Oyay, who was arrested at his home in Dubai on September 30, and to immediately disclose his whereabouts. 

Oyay’s wife, Vivian Johnson, told the independent South Sudanese daily Radio Tamazuj that six security personnel arrived at their home at 1 a.m. to arrest him and searched the premises for about two hours. She said she and their children were locked in a room, her phone was confiscated, and no explanation was given. Authorities reportedly told her only that Oyay would be held for five days for “investigation.”

“By arresting Samuel Peter Oyay without explanation, UAE authorities are once again showing that commentators and journalists face tremendous risks in a country where press freedom is severely restricted,” said Sara Qudah, CPJ Regional Director. “The UAE must immediately release him or publicly disclose the reasons for his arrest, reveal his whereabouts, and clarify any charges against him.”

Oyay is a well-known South Sudanese contributor to several media outlets, including Radio Tamazuj and the independent outlet Africa Press.

Before he was taken away, he told his wife, “Keep an eye on the children. This is a normal result of the struggle,” Johnson recalled.

Just days before his arrest, on September 21, Oyay wrote an article for Radio Tamazuj’s website criticizing the ongoing trial of South Sudan’s suspended First Vice President, Dr. Riek Machar. In the same piece, he also extended his critique to President Salva Kiir, describing Kiir’s leadership as “survival through fragmentation,” and arguing the president systematically undermines governance structures to prevent any alternative power from emerging to challenge him.

CPJ emailed embassies of the UAE and South Sudan in Washington, D.C., requesting a comment on the reasons for Oyay’s arrest and asking whether South Sudanese officials had sought his detention. CPJ did not receive an immediate response from either embassy.

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The BBC clearly sees the value of television series That Mitchell and Webb Look. Marking the 20th anniversary of its original screening, the Beeb has re-released the series on iPlayer. But – and there is very often a “but” with these things – they’ve removed around 11 sketches from the BAFTA award-winning show. The official word is that these sketches don’t “work today”, which is polite speak for “they may cause offence”. The episodes singled out include scenes featuring a battle reenactment with characters in blackface, a contestant on a show wearing a burka and a lost tribe” in a garden centre. These sketches set out to challenge stereotypes, not to reinforce them; but 20 years on, this distinction seems to have been lost along the way. I’m a bit uncomfortable about this. I find it infantilising, to say the least. Can’t we trust audiences to make up their own minds, to switch off if they find the sketches in question unpalatable? Does the BBC think that we are just passive consumers, unable to disaggregate the mocking of racism from racism itself? These sketches set out to challenge stereotypes, not to reinforce them This act of censorship is distorting – of the shows, whose narratives and rhythms were built to include these sketches, and more broadly too. Conversations we were having 20 years ago have been erased, as if to suggest that they never happened. But they did! And with this erasure, the opportunity for thoughtful engagement and learning from our past is gone. “Let’s just pretend we were all lovely 20 years ago. It’s better that way” seems to be the message. Speaking as a minority myself, I find that knowing the nasty stuff that people said before – and indeed, still say today – is much more useful than pretending it never happened. This approach, I think, is also inconsistent. What it reveals is a cherry-picking (intended or not) of the groups that we can mock, and those that we can’t. Let’s face it, gender stereotypes are rarely deemed to have aged beyond the pale – if that were the case, we would have to wave goodbye to half the television made before the mid-2010s. Suppression like this sends a bad message to artists, namely that what they’re creating today may hold less value tomorrow. Or, even worse, that future audiences may deem them bigots – that Sword of Damocles hovering over the heads of any creative paying attention to the discourse of the moment. Suppression like this sends a bad message to artists The BBC’s decision reaffirms a broader trend. In 2020, Little Britain was removed from the iPlayer platform for similar reasons. It has since been reinstated – minus some sketches. Meanwhile, the UK’s arts space more broadly is seeing a retreat to the land of “safe”, as Index recently revealed in a year-long investigation into self-censorship in UK theatre. The BBC, it must be said, does remarkable stuff. The ongoing podcast investigation into the disappearance of US journalist Austin Tice is just one example. But this does not mean, however, that they don’t sometimes get it wrong. Chopping at That Mitchell and Webb Look is one example. Sure, the removal of the material isn’t the life-or-death story that Index often works on. Sure, Mitchell and Webb aren’t the faces of persecuted artists – they have huge platforms and agreed to the changes themselves. Still, one can’t help but think that the decision came from a place of conservatism, perhaps even fear. This is weak and dispiriting, indeed the very opposite of what enables creativity in the arts. We shouldn’t be encouraging this cultural timidity. Rather, we should harness culture and creativity as the starting points of a conversation about our here and now. That’s what the arts are for, after all. READ MORE

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