L´AWID est une organisation féministe mondiale qui consacre ses efforts à la justice de genre, au développement durable et aux droits humains des femmes
Au cours des dernières années, nous avons observé une nouvelle tendance inquiétante dans les espaces internationaux consacrés aux droits humains. Les discours axés sur « la protection de la famille » sont en effet utilisés pour défendre des violations des droits de membres de la famille, pour renforcer et justifier l’impunité des auteurs de ces violations et pour restreindre l’égalité des droits au niveau de la vie familiale.
La campagne en faveur de la « Protection de la famille » est motivée par une volonté conservatrice d’imposer des conceptions « traditionnelles » et patriarcales de la famille et de priver les membres de la famille de leurs droits pour les transférer à « l’institution familiale ».
Les initiatives visant à la « Protection de la famille » reposent sur :
la montée du traditionalisme,
la montée du conservatisme culturel, social et religieux,
l’existence d’une hostilité vis-à-vis des droits humains des femmes, des droits sexuels, des droits des enfants et enfin des droits des personnes dont l’identité de genre et l’orientation sexuelle ne sont pas conformes aux normes.
Depuis 2014, un groupe d’Etats travaille de front dans les espaces dédiés aux droits humains sous le nom de « Group of Friends of the Family » (Groupe des ami-e-s de la famille) ; des résolutions sur la « Protection de la famille » ont été adoptées chaque année depuis 2014.
Ce programme s’est propagé au-delà du Conseil des droits humains. Nous avons observé l’introduction d’un discours régressif autour de la « famille » à la Commission sur la condition de la femme, ainsi que des tentatives d’introduction dans les négociations sur les Objectifs de développement durable.
Notre approche
L’AWID travaille avec des partenaires et des allié-e-s pour s’opposer ensemble à la « Protection de la famille » et à d’autres programmes régressifs et défendre l’universalité des droits humains.
En réponse à l’influence croissante d’acteurs régressifs au sein des espaces dédiés aux droits humains, l’AWID a rejoint des allié-e-s afin de créer l’Observatoire sur l'Universalité des droits (OURs) (site en anglais). L’OURs est un projet de collaboration qui surveille, analyse et diffuse les informations concernant les initiatives anti-droits telles que la « Protection de la famille ».
Le premier rapport de l’OURs, Nos droits en danger, trace une cartographie des acteurs et actrices qui constituent le lobby mondial anti-droits et identifie leur réthorique et stratégies clés ainsi que leur impact sur les droits humains.
Le rapport précise que le programme de « Protection de la famille » a développé une collaboration entre un large éventail d’acteurs régressifs aux Nations Unies, qu’il décrit comme « un cadre stratégique abritant des positions anti-droits et patriarcales multiples, où le cadre vise entre autres à légitimer et institutionnaliser ces positions. »
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Snippet FEA Wage Parity (FR)
LA PARITÉ SALARIALE
Reason to join 2
Trouvez et créez des connexions. L’AWID compte plus de 9 000 membres, qui s’efforcent tou·te·s de résoudre des questions complémentaires et interconnectées. Cette diversité favorise la pérennité des mouvements et acteures féministes.
Ana was a strong advocate of women’s rights and worked with a broad cross-section of women, from those in grassroots networks to those in the private sector.
She believed in building bridges across sectors. Ana was a member of the National Network for the Promotion of Women (RNPM), and was active in developing many social programs that address issues such as sexual and reproductive health and rights.
Kunyit Asam: The Roots of Love and Resilience
By Prinka Saraswati, Gianyar, Bali
The menstrual cycle usually lasts between 27 and 30 days. During this time, the period itself would only go on for five to seven days. During the period, fatigue, mood swings, and cramps are the result of inflammation.
In traditional Javanese culture, this is the moment for women to rest and take care of themselves. During this moment, a woman would take Kunyit Asam, a jamu or herbal drink to soothe the inflammation. This elixir consists of turmeric and tamarind boiled together in a pot.
I still remember my first period - it was one day before graduation day in elementary school. I remember pedaling my bike feeling something warm running between my thighs. When I arrived home I did all I could to clean myself and then put on a menstrual pad. My mother came home from work about four hours later. I told her what had happened. She looked me in the eye and asked how I felt. I told her that it was painful, that my body was swollen in every place. Then she asked me to go with her to the backyard. I followed her to our little jungle, my mother sat down on the soil and smiled.
“See this slender leaf? This is the leaf of Kunyit, *empon-empon that leaves the yellow stain on your fingers. What’s most important is not the leaf, but the roots. You dig the soil and slowly grab the roots.”, my mother showed me how to pick Kunyit or Turmeric roots. Then we went to the kitchen where she boiled water along with some tamarind. While waiting for it to boil, she showed me how to wash and grate the orangey-yellow root. Then, we put the grated turmeric into the boiling tamarind water. “Tomorrow, you can make it for yourself. This will help you to feel better!”.
I remember the first time I tasted it - a slightly bitter taste but also sour. My mother always served it warm. She would also put some in a big bottle which I would place on my stomach or lower back for further relief. For days after, my mother’s hands and mine were yellow. My friends could always tell every time I got period because my hands would be yellow.
A year after my first period, I found out that you could get the bottled version in convenience stores. Still, I made my own Kunyit Asam every time I had my period because the one in the convenience stores was cold. It did not smell of wet soil and warm kitchen.
Fast forward, I am a 26 year old woman who casually makes this drink for friends when they have their periods. I’ve made some for my housemates and I’ve delivered some for friends who live in different towns. I do not grow turmeric roots in my garden, but I have grown and shared the love from my mom. What was once from garden to cup is now from *pasar to cup.
A couple of days ago, I asked my mother who taught her how to make the jamu.
“Who else? Yang Ti*! Your grandmother was not just a teacher”, said my mom. I was never close to my grandmother. She passed away when I was eight. All I knew from my mom was that she was a math teacher who had to teach courses after work. I had this image of my grandmother as a hard worker who was kind of distant with her children. My mom did not disagree with that but explained it came from her survival instinct as a mother. “She tried to make time. She tried. She taught me how to make jamu so I could take care of myself and my sisters”.
My mother is the second child out of seven, six of whom are girls. The reason my grandmother taught her is so that all of her children could take care of each other. While my mother was taught how to make the drink, my mother’s older sister was taught how to plant turmeric. Yang Ti knew which one loved the smell of soil more and which one loved the smell of the kitchen. My mother was the latter. She learned how to plant from my aunt, her older sister.
My grandfather worked in a bank but he got laid off when he was in his 40s. So, my grandmother had to do a side-hustle to support their children. My mother was in high school at that time when Yang Ti woke her and her older sister up at dawn. “Would you help me to pick some roots?”. Of course nobody said no. Especially if it was your mother, especially if you were born in Javanese culture where saying “no” sounded like a bad word. Together, the three of them went to the backyard, and they harvested empon - empon, rhizome, that was buried inside the soil. She grew many kinds of rhizome; temu lawak, temu putih, ginger, galangal, kunci, kencur, and kunyit. That was the day where my mother realized that her mother was never far away from her.
That was the day where she could spend more time with her mother. There, in the garden. There, in the kitchen.
“We’re sending these for Ibu Darti, the lady who lives across the river. Kunyit Asam for her and her daughters.”, said my grandmother to my mother and my aunt that day. They poured the Turmeric-Tamarind warm drink into a tall thermos and later my grandmother would deliver it on the way to school.
Over time, my grandmother got more orders for jamu. Everybody in the family helped her to make and deliver her jamu. The small business lasted only a few years, but that was what paid for my mother and her siblings’ education.
Today, my mother, who got laid off just a few days before I wrote this piece, harvested Turmeric and other roots. She’s making her Turmeric Tamarind drink from her kitchen.
My phone rang in the middle of this afternoon, a couple minutes after I boiled the rest of my grated turmeric. Today is one day after my period.
“Ingka, have you washed your pot after boiling those turmeric? It would forever be yellow if you don’t wash it right away!”
*empon-empon = roots like ginger, turmeric, etc. coming from the Javanese word “Empu” which means, something or someone that has deep knowledge.
*jamu = Indonesia’s traditional elixir made of roots, barks, flowers, seeds, leaves, and fruits.
*Yang Ti = Javanese term for grandmother, taken from the term “Eyang Putri” the female you look up to.
*pasar = the word for traditional market in Indonesian.
Мы распределяем деньги среди наших грантополучающих партнерок(-ров) и являемся феминистским и/или женским фондом – можем ли мы участвовать в опросе?
Нет, мы высоко ценим вашу работу, но в данный момент мы не просим откликов от женских и феминистских фондов. Мы будем рады, если вы поделитесь информацией об опросе со своими партнерками(-рами) и контактами внутри феминистской сети.
Snippet FEA WE ARE LEGAL AND ALWAYS WERE (EN)
SPAIN
Sindicato OTRAS
WE ARE LEGAL AND
ALWAYS WERE
Values - intersectionality
Intersectionality
We believe that for feminist movements to be transformative and strong we must continue to work across our similarities and differences. We also must interrogate power and privilege both within and outside our movements.
Nacida en 1928, Marceline trabajó como actriz, guionista y directora.
Dirigió The Birch-Tree Meadow en 2003, protagonizada por Anouk Aimee, así como varios otros documentales. También fue una sobreviviente del Holocausto. Tenía solo quince años cuando ella y su padre fueron arrestadxs y enviadxs a campos de concentración nazis. Los tres kilómetros entre su padre en Auschwitz y ella en Birkenau eran una distancia infranqueable, sobre la cual escribió en una de sus novelas más influyentes: Pero no regresaste.
Al hablar sobre su trabajo, una vez afirmó: «Todo lo que puedo decir es que todo lo que pueda escribir, todo lo que pueda develar, es mi tarea hacerlo».
Pleasure Garden Exhibition
The artwork is a photography and illustration collaboration between Siphumeze and Katia during lockdown. The work looks at black queer sex and plesure narratives, bondage, safe sex, toys, mental health and sex and many more. It was created to accompany the Anthology Touch.
Mental HealthSex and SpirtualityOrgasm
About the Artists:
Siphumeze Khundayi is an art-maker, photographer and facilitator interested in creative ways of bringing together dialogue and artistic practice in relation to African Queer identity.
She is creative director of HOLAAfrica! a pan-Africanist womanist online collective.
Her solo and collaborative performance work has been featured in a number of festivals and theatre spaces such as Ricca Ricca Festival in Japan
She directed two Naledi nominated productions in 2017 and 2018. She directed a show that won a Standard Bank Ovation award in 2020.
As a photographer she was part of a group exhibition titled Flowers of my Soul in Italy organised by the Misfit Project. Produced three publications for HOLAAfrica and was published in and provided the cover for volume two: As You Like of the Gerald Kraak Anthologies.
Katia Herrera is a 21-year-old Digital visual artist from the noisy city of Santo Domingo in the Dominican Republic. Despite Herrera being a self-proclaimed introvert, her artwork is remarkably loud in a world trying to quiet black voices. With titles like Black Woman, You Own the Moon, Earth Goddess, Forever, and Universe Protector, Herrera’s legacy will be marked by her passion for highlighting the endurance and perseverance of black folks of old and present to contrast the narrative that black skin should only be associated with slavery.
One of her most lovely and vivaciously titled works, Universe Protector, portrays the black soul as a divine entity full of strength, power, and greatness. In her youth, her love of graphic design was stimulated by her parents’ artistry and the Photoshop they had downloaded on their computer for their professional photography.
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Snippet FEA Union Otras Photo 1 (ES)
Our values - Justice and systemic change
Justicia y cambio sistémico
Trabajamos por un mundo basado en la justicia social, ambiental y económica; y por la interdependencia, la solidaridad y el respeto. Trabajamos para desmantelar los sistemas de poder opresivo y contra todas sus manifestaciones, incluidos el patriarcado, los fundamentalismos, los militarismos, los fascismos y el poder corporativo que amenazan nuestras vidas y nuestro mundo. Queremos un mundo justo en el que los recursos y el poder sean compartidos en formas que permitan que todas las personas prosperen.
"He dado testimonio de la discriminación que vi en las calles, he sufrido burlas y abusos verbales ahí. También he hecho numerosas amistades y he conocido a mucha gente. Puede que haya peligros ahí fuera, pero soy una sobreviviente y aquí es donde estaré por ahora." - Sainimili Naivalu
Sainimili Naivalu fue una feminista y activista por los derechos de las personas con discapacidades de la aldea de Dakuibeqa en la isla de Beqa, Fiji.
Exigió a las autoridades políticas y a otras partes interesadas que proporcionaran políticas y servicios favorables a la movilidad de las personas con discapacidad, como la construcción de rampas en pueblos y ciudades para aumentar su accesibilidad. Sin embargo, las barreras físicas no fueron las únicas que Sainimili se esforzó por cambiar. Por experiencia propia, sabía que era necesario que se produjeran cambios más complejos en las esferas sociales y económicas. Muchos de los retos a los que se enfrentan las personas con discapacidad tienen su origen en actitudes que llevan a la discriminación y al estigma.
Como sobreviviente y luchadora, Sainimili contribuyó a la creación conjunta de realidades feministas que fomentasen la inclusión y cambiasen las actitudes hacia las personas con discapacidad. Como afiliada a la Asociación de Lesiones de la Espina Dorsal de Fiji (SIA, por sus siglas en inglés) y a través del proyecto del Foro para Personas con Discapacidades del Pacífico “Pacífico Habilita”, Sainimili asistió a la formación de la Organización Internacional del Trabajo "Inicie su Negocio" en Suva, lo que le permitió transformar sus ideas en su propio negocio. Fue emprendedora en el puesto 7 del mercado de Suva, donde ofrecía servicios de manicura, y también se encargaba del puesto del mercado de las mujeres de SIA, donde vendía artesanías, sulus y otros objetos. El plan de Sainimili era expandir su negocio y convertirse en una importante empleadora de personas con discapacidad.
Además de su activismo, también fue medallista y campeona juvenil de tenis de mesa.
Sainimili era única, con una personalidad vivaz. Siempre podías saber si Sainimili estaba en una habitación porque su risa y sus historias eran los primero que notabas. - Michelle Reddy
Sainimili falleció en 2019.
Upasana Agarwal
“Forgotten Song” [«Canción Olvidada»]“Ode to the Moon” [Oda a la Luna»]“Vapour and Fire” [«Vapor y Fuego»]
Sobre Upasana Agarwal
Upasana es unx ilustradorx y artista no binarie de Calcuta, India. Su obra explora narrativas identitarias y personales, que empean restos o evidencias visuales de los contextos con los que trabaja. Le atraen especialmente los diseños en patrones que, para ellx, comunican verdades complejas sobre el pasado, el presente y el futuro. Cuando Upasana no está ilustrando, organiza y dirige un centro de arte comunitario queer y trans de la ciudad.
هنالك 47 سؤال في الاستطلاع، منها 27 سؤال اجباري* والعشرين الباقين هي أسئلة اختيارية. أغلب الأسئلة هي أسئلة متعددة الخيارات. ندعوكم/ن للإجابة على جميع الأسئلة.