AWID es un organización feminista internacional de membresía, que brinda apoyo a los movimientos que trabajan para lograr la justicia de género y los derechos de las mujeres en todo el mundo.
Esta sección de análisis especial ofrece un análisis feminista crítico y acceso a los recursos clave relacionados con la «protección de la familia» en los espacios internacionales de derechos humanos.
Durante los últimos años, venimos observando una nueva y preocupante tendencia en el ámbito internacional de derechos humanos, donde se están empleando discursos sobre la «protección de la familia» para defender violaciones cometidas contra miembros de la familia, de modo de reforzar y justificar la impunidad y para coartar la igualdad de derechos en el seno de la familia y la vida familiar.
La campaña para «proteger a la familia» es impulsada por proyectos conservadores que tienen como fin imponer interpretaciones «tradicionales» y patriarcales de familia; quitando los derechos de las manos de sus miembros para ponerlos en las de la institución «familia».
Los proyectos de «protección de la familia» tienen su origen en los siguientes fenómenos:
el auge del tradicionalismo,
el auge del conservadurismo cultural, social y religioso, y
posturas hostiles a los derechos humanos de las mujeres, los derechos sexuales, los derechos de las niñas y los niños y los derechos de las personas con identidades de género y orientaciones sexuales no normativas.
Desde 2014 un grupo de estados opera como bloque en espacios de derechos humanos, bajo el nombre «Group of Friends of the Family» [Grupo de amigos de la familia], y a partir de entonces se han aprobado resoluciones sobre la «Protección de la familia» todos los años.
Esta agenda se ha extendido más allá del Consejo de Derechos Humanos (HRC, por sus siglas en inglés). Hemos visto cómo el lenguaje regresivo sobre «la familia» se ha introducido en la Comisión de la Condición Jurídica y Social de las Mujeres (CSW, por sus siglas en inglés), y hemos asistido a intentos por incluir este lenguaje en las negociaciones sobre los Objetivos de Desarrollo Sostenible.
Nuestro enfoque
AWID trabaja con asociadxs y aliadxs para resistir conjuntamente las agendas regresivas de «Protección de la familia» y otras, y para defender la universalidad de los derechos humanos.
En respuesta a la creciente influencia de actores regresivos en los espacios de derechos humanos, AWID se ha unido con aliadxs para formar el Observatorio de la Universalidad de los Derechos (OURs, por sus siglas en inglés). OURs es un proyecto colaborativo que monitorea, analiza y comparte información sobre iniciativas anti-derechos tales como la «Protección de la familia».
Derechos en Riesgo, el primer informe de OURs, traza un mapa de los actores que conforman el cabildeo global anti-derechos e identifica sus discursos y estrategias principales, señalando los efectos que estos discursos y estrategias están teniendo sobre nuestros derechos humanos.
El informe expone a la «Protección de la familia» como una agenda que ha promovido la colaboración entre una amplia gama de actores regresivos en las Naciones Unidas. La describe como un marco estratégico que aloja «múltiples posiciones patriarcales y anti-derechos, cuyo marco, a su vez, apunta a justificar e institucionalizar estas posiciones».
Contenido relacionado
Our values - Human Rights
Droits humains
nous croyons en une application complète du principe des droits, y compris ceux établis dans les lois internationales, et affirmons la conviction que tous les droits humains sont indissociables, interdépendants et indivisibles. Nous nous engageons à œuvrer pour l'éradication de toutes les discriminations fondées sur le genre, la sexualité, la religion, l'âge, les capacités, l'ethnicité, la race, la nationalité, la classe sociale ou d'autres facteurs.
Yelena Grigoriyeva, often called Lena by friends, was a prominent LGBT rights campaigner in Russia.
She was part of democratic, anti-war and LGBT movements. In her activism, Yelena was a fierce critic of President Vladimir Putin and his administration, expressing her opposition against Russia’s annexation of Ukraine’s Crimea peninsula and the ill-treatment of prisoners.
Yelena came out as bisexual earlier in 2019.
"Her coming out was a surprise to me, and I didn't approve of it. I told her 'Listen, Lena, you already have a target painted on you because of your political activity. You've just pinned another to your chest." - Olga Smirnova
Yelena did receive multiple death threats and according to some of her acquaintances, was listed on a homophobic website that called on its visitors to hunt down LGBT persons. She reported the threats to the police, however the Russian state failed to provide protection.
But even in a society where political opposition, as well as members of the LGBT community and advocates for their rights, face continuous and increasing violence, Yelena kept campaigning for social justice and equality.
“She did not miss a single action. And they detained her so often that I already lost count,”
- Olga Smirnova (fellow opposition activist and friend).
Yelena was murdered on 21 July 2019, not far from home. A suspect was arrested but according to some sources, many friends and fellow activists believe that the suspect is a scapegoat and that this was a targeted political killing.
For Yelena’s relatives and friends, her case remains unsolved even though the suspect confessed.
In 2013, Russia passed legislation banning the spreading of what it described as ‘gay propaganda’. In 2014, Human Rights Watch published a report relating to this.
Body
Anti-Rights Tactics, Strategies, and Impacts
Chapter 5
Anti-rights actors adopt a double strategy. As well as launching outright attacks on the multilateral system, anti-rights actors also undermine human rights from within. Anti-rights actors engage with the aim of co-opting processes, entrenching regressive norms, and undermining accountability.
Anti-rights actors’ engagement in international human rights spaces has a principal purpose: to undermine the system and its ability to respect, protect and fulfill human rights for all people, and to hold member states accountable for violations. Some anti-rights tactics operate from outside the UN and include delegitimization and political pressure to defund the UN, or to withdraw from international human rights agreements. In recent years, anti-rights actors have also gained increasing influence inside the UN. Their inside tactics include training of delegates, distortion of human rights frameworks, watering down human rights agreements, infiltrating NGO committees, applying for ECOSOC status under neutral names, infiltrating youth spaces, and lobbying to place anti-rights actors in key positions.
Table of Contents
Institutionalization of Anti-rights Actors in UN Mechanisms
"Joining AWID, I hope I can help in the mobilization of the feminist movement. Not just for the privileged women, but for ALL women and feminist activists."
- Angelina Mootoo, Intersectional and Caribbean Feminist, Guyana/USA
Snippet - AWID Community - EN
AWID Community
AWID Community is an online social networking platform for specifically for AWID members. It’s a feminist space for connection, resistance and celebration. A space for critical feminist conversations, collective power and solidarity. It is also a space for post-event dialogues, navigating difficult political learnings and community care
Magaly Quintana era conocida por muchxs en Nicaragua como 'La Maga'. Fue una historiadora feminista, activista y defensora inquebrantable de los derechos de las mujeres que exigía justicia para las víctimas de femicidio.
Magaly se comprometió a documentar y elaborar estadísticas sobre las mujeres y niñas que fueron asesinadas como resultado de la violencia sexual en el país.
"Ella reconstruyó la vida de cada una, de sus familias, para mostrar así las vidas que habían sido destrozadas". - Dora María Téllez
Magaly también criticó al gobierno por la reforma de la Ley 779 que trata la violencia contra las mujeres. Como resultado del arduo trabajo de los movimientos de mujeres nicaragüenses, esta ley, antes de su reforma, incluía importantes disposiciones para penalizar el femicidio. Magaly argumentó que estas reformas legislativas debilitaban la ley, y limitaban la definición de los femicidios a homicidios, invisibilizando, como resultado, los delitos violentos contra las mujeres.
La organización feminista de Magaly se fundó a principios de los ‘80. Fue la directora de Mujeres Católicas por el Derecho a Decidir, que defiende el derecho al aborto terapéutico tras su prohibición en 2006. En 2018, apoyó las protestas contra el gobierno de Daniel Ortega.
Magaly nació en mayo de 1952 y falleció en mayo de 2019.
"Hasta luego, mi querida Magaly Quintana. Muchas gracias, gracias por tu legado. Te veremos de nuevo, tan fuerte y poderosa como siempre."- Erika Guevara Rosas (Directora Americana de Amnistía Internacional).
La historia de Crear, Résister, Transform por Coumba Toure
Una experiencia mágica de narración feminista conducida por la feminista panafricana Coumba Toure, quien actuará en la antigua tradición de lxs griots de África Occidental.
Y nos reunimos nuevamente
Juntamos nuestras historias, nuestra fuerza
nuestras canciones
nuestras lágrimas
nuestra ira
nuestros sueños
nuestro éxito
nuestros fracasos
Y lo colocamos todo junto
en un gran cuenco para compartir
durante una luna de pensamientos
Y nos mantenemos en contacto
nos sacudimos las mentes unas a otras
nos acariciamos las almas
mientras nuestras manos siguen atadas
y nuestros besos y abrazos están prohibidos
Sin embargo, nos hacemos más fuertes cada hora
entretejiendo juntas nuestras voces
cruzando las barreras del sonido
mientras hablamos en lenguas
Nuestras voces son cada vez más altas
Sabemos lo que nos diferencia de otras personas
y entre nosotras, de modo que
estamos bordando nuestras bellezas en un mosaico de pensamientos
desde nuestros aprendizajes más profundos, desde nuestros poderes
A veces nos rodea el terror
la confusión, la deshonestidad
pero nos lavamos en el océano de amor
Somos tejedoras de sueños
para vestir nuestro nuevo mundo
hilo por hilo
tan pequeñas como somos
como pequeñas hormigas construyendo nuestro movimiento
comopequeñas gotas construyendo nuestros ríos
Damos pasos hacia adelante y pasos hacia atrás
bailando nuestro camino de vuelta a la cordura
Sostenemos el ritmo de nuestros corazones: sigan
latiendo, por favor, no se detengan
Y aquí estamos, transmisoras de generosidad olvidada
gota tras gota creciendo como el océano
creciendo como el río que fluye de nuestras almas
mostrando nuestra fuerza para ser el agua
que limpiará este mundo
y nos estamos reuniendo nuevamente ¿pueden sentirnos?
Mentiría si dijera que para mí
está bien no verlas, extraño a mi gente
Extraño su contacto y
sus voces sin filtro y sin registro
Extraño nuestros susurros y nuestros alaridos
nuestros gritos de la revolución abortada
Solo queremos parir nuevos mundos
Entonces luchemos para borrar las fronteras entre nosotras
Por favor, no se detengan
Janet Benshoof était une avocate des droits humains oeuvrant aux États-Unis et défenseure de l’égalité des femmes et de leurs droits sexuels et reproductifs.
Elle a milité pour l’élargissement de l’accès à la contraception et à l’avortement dans le monde entier, et s’est battue contre des décisions anti-avortement dans le territoire américain de Guam. Arrêtée en 1990 pour son opposition à la loi anti-avortement la plus restrictive de son pays, elle a remporté une mise en demeure [MB1] au tribunal local à Guam qui a bloqué la loi, pour ensuite remporter l’affaire devant la Cour d’Appel de Ninth Circuit, décision qui devait supprimer définitivement celle-ci.
« Les femmes à Guam sont dans une situation absolument dramatique. Je n’ai nullement l’intention d’arrêter d’en parler », Janet Benshoof pour People Magazine
Janet a créé plusieurs précédents juridiques, dont l’approbation par l’US Food and Drug Administration de la contraception d’urgence, ainsi que l’application du droit international afin de garantir leurs droits aux victimes de viol lors des poursuites pour crimes de guerre de l’époque de Saddam Hussein, devant la Cour Suprême iraqienne.
Janet était présidente et fondatrice du Global Justice Center, ainsi que fondatrice du Center for Reproductive Rights, la première organisation internationale pour les droits humains, centrée sur le choix reproductif et l’égalité. Elle a siégé pendant 15 ans en tant que directrice du projet pour les droits reproductifs de l’American Civil Liberties Union, où elle a mené de nombreuses procédures juridiques qui ont contribué à façonner la loi constitutionnelle des États-Unis sur l’égalité de genre, la liberté d’expression et les droits reproductifs.
« Janet était connue pour son brillant esprit juridique, son sens de l’humour vif et son courage face à l’injustice », Anthony D. Romero.
Nommée l’une des « 100 avocat·e·s les plus influent·e·s d’Amérique » par le National Law Journal, Janet a reçu de nombreux prix et distinctions.
Née en mai 1947, Janet est décédée en décembre 2017.
Jurema Araújo is a teacher-poet from Rio de Janeiro. She contributed to the magazine Urbana, edited by the poets Brasil Barreto and Samaral (RIP) and to the book Amor e outras revoluções (Love and Other Revolutions) with several other writers. In collaboration with Angélica Ferrarez and Fabiana Pereira, she co-edited O livro negro dos sentidos (The Black Book of Senses), a creative anthology on black women’s sexuality in Brazil. Jurema is 54-years-old; she has a daughter, three dogs, a cat, and many friends.
Suck it with me?
Mango is my favorite fruit.
I open my mouth
and suck it all,
Its flesh caught between my teeth
that turn soft not to hurt it
and I press it between my tongue and the roof of my mouth,
then I take it out to suck on every part of it
with the juice running down my mouth
drenching myself in this tasty nectar
and putting it all in my mouth again
because mango is seed and honey;
it is fiber and flavor.
And when it is over, I am entranced,
honeydewed, sweetened,
my lips all wet.
Ohhh, what is mango for if not for smearing.
Chupa Comigo?
A fruta que eu mais gosto é manga!
Porque eu abro a boca
E meto toda pra chupar!
Se os dentes a prendem
Fazem macio para não machucar
E eu pressiono entre minha língua e meu céu
Depois tiro pra sugar cada parte
Sentindo o caldo escorrer boca afora
Me molhando com esse néctar gostoso
E metendo toda na boca de novo
Pois manga é caroço e é mel,
É fiapo e sabor
E quando acaba, estou extasiada
Melada, docinha
Com os lábios molhados!
Aaahhh, manga é pra se lambuzar!
Introducing The Black Book of Senses
I’ll admit it: when Angélica and Fabi invited me to curate a collection of erotic texts by black women, I didn’t know what curatorship was. I understood the erotic well, but curatorship... I smiled, feeling shy and flattered. I think I thanked them – at least I hope I did – and thought to myself: what the fuck is it?! This fancy word I’ll have to learn the meaning of while doing it, what is it?
Now at this point, I know what it is to be a curator: it is making love with someone else’s texts, with someone else’s art, with the intention of putting a book together. And that is exactly what I did. I undressed each text of every author of this book with a literary lasciviousness. And I got involved in the words and senses of others. I was penetrated by poems I didn’t write; tales I didn’t even dare to imagine turned me upside down, messing with my feelings, with my libido. And it was a wonderful and unusual orgasm: ethereal, corporeal, sublime, at once intellectual and sensitive.
These texts pulsated like a clit hardened by desire, drenched, dripping joy in every reading. Words that swallowed me with their naughty significance, making me dive deeper into this wet universe.
These black women went to the bottom of their arousals and turned their deepest erotic fantasies into art. These works are impregnated with each writer’s own way of experiencing sexuality: freely, blackly, for ourselves, in our own way, empowered.
I chose to spread the texts throughout different parts of the book, each one organized according to the most delicate, explosive, evident, or implicit content they presented.
To open the door to this “invulved blackessence,” we have our Preliminaries section, with texts that introduce readers to this world of delights. It is a more general, delicate caress to acknowledge the subjects addressed by the texts in the rest of the book.
Then comes the heat of Touch, addressing what the skin can feel. That energy which burns or freezes our bodies, makes our hormones explode and starts to awaken the other senses. And although there are many of us who are voyeurs, the contact of skin with a wet and warm mouth is exciting, like wandering through the softness of whomever is with you. We are seduced by the firm or gentle touch that gives us goosebumps and that lovely discomfort that runs from the neck down to the back and only stops the next day. And the warmth of the lips, the mouth, the wet tongue on the skin – oh, the tongue in the ear, hmmm – or skin on skin, clothes moving over the body, almost like an extension of the other’s hand. If there is no urgency, that wildest arousal of the pressure of a tight grab, a bit of pain – or a lot, who knows?
The Sound – or melody? – section shows us that attraction also happens through hearing: the voice, the whispers, the music that enables the connection between the bodies and can become the theme of desire. For some of us, someone with a beautiful voice would only need their vocal cords, because that harsh or heavy or melodious sound would be auditory sex. Their loud swearing or sweet words whispered in the ear would be enough to give us hair-raising shivers from neck to coccyx.
In Flavor, we know the tongue does a good job tasting the most hidden places and wandering through the body to delight itself. Sometimes this organ is used, boldly, to taste the other’s nectar. The idea of someone sharing their strawberry or a delicious, juicy mango through bites and licks – or licks and bites – melts us. But nothing is more delicious than tasting the caves and hills of the person you are with. Stick your tongue deep inside to taste a piece of fruit... or spend hours tasting the head of a cock in your mouth, or suck on a delicious breast to taste the nipples. This is all about memorizing someone by their Flavor.
There are texts in which the nose is what triggers desire. The Smell, my dear readers, can awaken us to the delights of desire. Sometimes we meet a person who smells so good, we want to swallow them right through our nose. When you run through the other person’s body with your nose, starting with the neck – wow, that delightfully uncomfortable shiver that runs down the spine and undresses the soul! The shameless nose then moves to the back of the neck and captures the scent of the other in such a way that in the absence of that person, smelling their same scent evokes, or conversely, invades in us olfactory memories that bring the arousing smell of that person back.
We then get to Look – for me, the betrayer of senses – in which we perceive desire from a point of “view.” It is through sight that the texts present desire and arousal, through which the other senses are brought about. Sometimes a smile is all it takes to drive us crazy. The exchange of glances? That look that says “I want you now.” That look of possession that comes to an end when you stop fucking, or not. That one is very particular; it draws the other who won’t be able to look away for long. Or the sidelong glance – when one looks away when the other turns their head, like a cat-and-mouse game? Once we are caught red-handed, there’s nothing else to do besides breaking into a wide smile.
Finally, the explosion. Wandering through All senses, the texts mix feelings that seem like an alert, so there is the greatest pleasure, that orgasm.
Of course, there is nothing explicitly separating these poems and tales. Some are subtle. Arousal engages all our senses and, most importantly, our heads. That’s where it happens, and it connects our whole body. I organized the poems according to how they came to me in each reading. Feel free to disagree! But to me, there is a sense through which desire goes and then explodes. Realizing which one it is, is delightful.
Being able to turn arousal into art means freeing ourselves from all the prejudice, prisons, and stigma this white-centric society has trapped us in.
Every time a black writer transforms the erotic into art, she breaks these harmful racist chains that cripple her body, repress her sexuality, and turn us into the object of another’s greed. Writing erotic poetry is taking back the power over her own body and roaming fearlessly through the delights of desire for herself, for others, for life.
The literary erotic is who we are when turned into art. Here we show the best of us, our views of love drenched by pleasure, seasoned by the erogenous, spread through our bodies, and translated by our artistic consciousness. We are multiple and we share this multiplicity of sensations in words dripping with arousal. Yes, even our words drip with our sexual desire, drenching our verses, turning our sexual urges into paragraphs. To come, for us, is a breakthrough.
It is necessary to make our minds, bodies, and sexuality black, to reestablish our pleasure, and take back our orgasms. Only then will we be free. This whole process is a breakthrough, and it happens painfully. But there is happiness in finding ourselves to be very different from where we had been placed.
I feel like I am yours, I am ours. Taste, delight yourselves, feast on these beautiful words with us.
This text is adapted from the introductions to “O Livro Negro Dos Sentidos” [The Black Book of Senses], an erotic collection of poems by 23 black female writers.
ExploreTransnational Embodiments
This journal edition in partnership with Kohl: a Journal for Body and Gender Research, will explore feminist solutions, proposals and realities for transforming our current world, our bodies and our sexualities.
نصدر النسخة هذه من المجلة بالشراكة مع «كحل: مجلة لأبحاث الجسد والجندر»، وسنستكشف عبرها الحلول والاقتراحات وأنواع الواقع النسوية لتغيير عالمنا الحالي وكذلك أجسادنا وجنسانياتنا.
