Guatemala - Rural Women Diversify Incomes and Build Resilience
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Priority Areas
Supporting feminist, women’s rights and gender justice movements to thrive, to be a driving force in challenging systems of oppression, and to co-create feminist realities.
Building Feminist Economies is about creating a world with clean air to breath and water to drink, with meaningful labour and care for ourselves and our communities, where we can all enjoy our economic, sexual and political autonomy.
In the world we live in today, the economy continues to rely on women’s unpaid and undervalued care work for the profit of others. The pursuit of “growth” only expands extractivism - a model of development based on massive extraction and exploitation of natural resources that keeps destroying people and planet while concentrating wealth in the hands of global elites. Meanwhile, access to healthcare, education, a decent wage and social security is becoming a privilege to few. This economic model sits upon white supremacy, colonialism and patriarchy.
Adopting solely a “women’s economic empowerment approach” is merely to integrate women deeper into this system. It may be a temporary means of survival. We need to plant the seeds to make another world possible while we tear down the walls of the existing one.
We believe in the ability of feminist movements to work for change with broad alliances across social movements. By amplifying feminist proposals and visions, we aim to build new paradigms of just economies.
Our approach must be interconnected and intersectional, because sexual and bodily autonomy will not be possible until each and every one of us enjoys economic rights and independence. We aim to work with those who resist and counter the global rise of the conservative right and religious fundamentalisms as no just economy is possible until we shake the foundations of the current system.
Our Actions
Our work challenges the system from within and exposes its fundamental injustices:
Advance feminist agendas: We counter corporate power and impunity for human rights abuses by working with allies to ensure that we put forward feminist, women’s rights and gender justice perspectives in policy spaces. For example, learn more about our work on the future international legally binding instrument on “transnational corporations and other business enterprises with respect to human rights” at the United Nations Human Rights Council.
Mobilize solidarity actions: We work to strengthen the links between feminist and tax justice movements, including reclaiming the public resources lost through illicit financial flows (IFFs) to ensure social and gender justice.
Build knowledge: We provide women human rights defenders (WHRDs) with strategic information vital to challenge corporate power and extractivism. We will contribute to build the knowledge about local and global financing and investment mechanisms fuelling extractivism.
Create and amplify alternatives: We engage and mobilize our members and movements in visioning feminist economies and sharing feminist knowledges, practices and agendas for economic justice.
“The corporate revolution will collapse if we refuse to buy what they are selling – their ideas, their version of history, their wars, their weapons, their notion of inevitability. Another world is not only possible, she is on her way. On a quiet day, I can hear her breathing”.
Arundhati Roy, War Talk
Related Content
AWID Community Jobs board - EN
Community Jobs Board
Are you job hunting? One of the perks of joining the AWID Community, is getting access to our community curated jobs board. You'll get to explore new opportunities, and you will also have the chance to share vacancies and call for proposals with all members.
Administrative Office
For administrative purposes you can contact our office at:
+1 416 594 3773
192 Spadina Avenue, Suite 300 | Toronto, ON, M5T 2C2 | Canada
В рамках данной сессии, сотрудницы (-ки) Ассоциации «Права женщин в развитии» будут делиться своими знаниями и опытом работы в условиях виртуального общения. Мы поговорим об основных сложностях и интерсекциональности в работе секс-работниц (-ков) и феминисток (-ов).
Подумайте над своими вопросами!
Для участниц (-ков) будет предоставлен перевод на испанский, французский и русский языки.
Спикеры
Кей Тхи Вин
Кей Тхи является секс-работницей и с 2007 года лоббирует вопросы здоровья и прав секс-работниц (-ков). За последние девять лет она участвовала в программе по предупреждению ВИЧ среди женщин, работающих в секс-индустрии, и мужчин, имеющих половые связи с мужчинами, в Мьянме. В настоящее время Кей Тхи является региональной координаторкой Азиатско-Тихоокеанской сети секс-работниц (-ков) (АТССР) и работает с партнерами по всему Азиатско-Тихоокеанскому региону.
Гитанджали Мишра
Гитанджали является соосновательницей и исполнительной директоркой организации CREA (Нью-Дели). Она феминистка и любительница кино, работала по вопросам сексуальности, репродуктивного здоровья, гендера, прав человека и насилия в отношении женщин на различных уровнях - в качестве активистки, грантодательницы и на директивном уровне.
Вера Родригез
Вера присоединилась к фонду «Красный зонт» в августе 2017 года в качестве сотрудницы по программам. Вера родилась в Испании, где окончила факультет журналистики Университета Сан Пабло в Валенсии. Последние 7 лет она является активной участницей организации «X-talk», очень вовлечена в работу Коллектива Стриптизерш (-ров) Восточного Лондона, а также является участницей съемочной группы «Опера секс-работниц (-ков)».
Заинтересованы в том, чтобы вскоре стать частью этого диспут-семинарa и других обучения?!
Feminist and gender justice movements continue to be chronically underfunded in the face of global funding cuts and freezes, and rising fascisms. Growing resource scarcity has impacted the most vulnerable communities, particularly in Global South regions with progressively closing civic spaces.
In response to these challenges, we collaborated with Impactmapper to co-create a comprehensive resource that combines two powerful tools to strengthen the funding ecosystem for social justice movements.
Ika Vantiani
Bunga-Transgirl are girl, Analog collage, 2020
Bunga or flower in English is something that is often associated with women in Indonesia. Meaning, a flower can also be associated with transgender women. Because transgender women are women. As beautiful, as strong, and they both lived not only waiting to be 'picked' but instead grew and bloom and died as they pleased. This work is a tribute to my transgender women friends on The International Transgender Day of Visibility.
About Ika Vantiani
Ika Vantiani is an Indonesian artist, curator and crafter based in Jakarta. Her works explores the idea of being a woman in today’s society with the intertwined between media and consumption. Ika uses the discipline of collage and expands it into workshop, installation, and street art. Ika is the member of artist collectives including Micro Galleries, The Collage Club and It’s In Your Hands Collective.
Snippet2 - WCFM Registration status - EN
Registration status:
Search for funders based on their requirements for groups to be registered.
Celluloid Ishtar
Hind and Hind were the first documented queer couple in Arab history. In today’s world, they are a queer artist from Lebanon.
Sequence 1
When I was 6, I learned that my grandfather owned a movie theater. My mother recounted to me how it had opened in the early 1960s, when she was also about 6 years old. She remembered that they screened The Sound of Music on the first night.
I would pass by the theater every weekend and watch my grandfather play backgammon with his friends. I didn’t know he was living in the theater, in a room right under the projection booth. I later learned that he moved there after he and my grandmother separated and after the theater closed, in the 1990s, shortly after the Lebanese civil war had ended.
For years and until he passed away, I would mostly see my grandfather play backgammon in the unmaintained reception area of the movie theater. Those repeated scenes are all I remember of him. I never got to properly know him; we never talked about cinema, even though he spent all his time in a run-down movie theater. I never asked him what it was like to live in a place like this. He died when I was 12, on Christmas Eve, from a fall down the spiraling steps that led to the projection booth. It is almost poetic that he passed away in movement, in a house where moving images are perpetually suspended in time.
Sequence 2
In the spring of 2020, my cousin called me to say he had cleaned up my grandfather’s movie theater and asked me to meet him there. The two of us had always dreamed of renovating it. I got there before he did. In the reception area, the film poster frames were still there but the posters were gone. I knew there must have been some ticket stubs left somewhere; I found them stacked away in a small rusty tin box, on a shelf in the ticketing booth, and I pocketed some.
I began to walk around. On the main stage, the projection screen was quite dirty and a little torn on the side. I glided my index finger on the screen to remove a patch of dust and noticed that the screen was still white underneath. The fabric seemed to be in good shape too. I looked up to see that my grandmother’s curtains were still in place. They were made of white satin with a little embroidered emblem over the bridge of the curtain, representing the theater. There was a main seating area and a gallery. The chairs seemed to be very worn out.
I noticed the projector peeking out of a small window at the very end of the balcony seating area. I led myself up the spiraling steps of the projection booth.
The room was dark, but a source of light coming from the dusty windows revealed a stack of film reels tossed in a corner. Lifeless celluloid strips were tangled up against the foot of the film projector. The dusty reels were all Western, Bollywood, and Science-Fiction genre films with bad titles like The Meteor that Destroyed Earth, or something of the sort. My attention was caught by the dusty film strips – mostly snippets cut out from reels. One by one, the short strips depicted different kissing scenes, what seemed like a suggestive dance, a nondescript scene of a gathering, a close-up of a woman lying down with her mouth open, opening credits to a Bollywood film, and a “Now Showing” tag that went on for several frames.
The Bollywood film credits reminded me of my mother. She used to tell me how they would hand out tissues to audience members on their way out of screenings. I kept the kissing scene and suggestive dance strips; I assumed they had been cut out for censorship reasons. The close-up of the woman reminded me of an excerpt from Béla Balázs’ Visible Man, or The Culture of Film, The Spirit of Film, and Theory of the Film. He said that close-ups in film provided a
silent soliloquy, in which a face can speak with the subtlest shades of meaning without appearing unnatural and arousing the distance of the spectators. In this silent monologue, the solitary human soul can find a tongue more candid and uninhibited than any spoken soliloquy, for it speaks instinctively, subconsciously.
Balázs was mostly describing the close-ups of Joan in the silent film La Passion de Jeanne d’Arc. He pointed out how, “...in the silent (movie), facial expression, isolated from its surroundings, seemed to penetrate to a strange new dimension of the soul.”
I examined the film strip further. The woman looked dead, her face almost mask-like. She reminded me of Ophelia by the painter John Everett Millais. In her book On Photography, Susan Sontag says a photograph is “a trace, something directly stenciled off the real, like a footprint or a death mask.” These death masks are like a presence that reminds of an absence.
I remembered encountering a discourse between death and photography in Roberto Rossellini’s forgotten film The Machine that Kills Bad People. In this film, a cameraman goes around taking photographs of people, who would in turn freeze, and are later suspended in time. French film critic André Bazin used to say that photography snatches bodies away from the flow of death and stores them by embalming them. He described this photographic mummification as “the preservation of life by a representation of life.”
This projection booth, its whole layout, all the things that looked like they were moved, the celluloid strips on the ground, everything my grandfather left a mark on – I felt very protective of.
Underneath the strips was an undone dusty film reel. It seemed like someone had been watching the reel manually. At that moment, my cousin made his way up the spiraling steps to find me examining it. He rubbed his fingers along his chin and, in a very-matter-of-fact way, said, “You found the porn.”
Sequence 3
I looked at the film strip in my hand and realized it was not a death scene. The strip was cut out of the porn reel. The woman was moaning in ecstasy. Close-ups are meant to convey feelings of intensity, of climax, but I had never really used Balázs’ theories to describe a porn scene. He wrote how “the dramatic climax between two people will always be shown as dialogue of facial expressions in close-up.” I pocketed the film strip and I named the woman Ishtar. She has lived in my wallet ever since. It seemed strange to compare the close depiction of Joan’s fears and courage with Ishtar’s facial expression in ecstasy.
According to my cousin, my grandfather’s brother would wait until my grandfather left the theater and, instead of closing, invite his friends for some after-hour private screenings. I didn’t think much of it. It was a common practice, especially during and after the Lebanese civil war. After the war, television sets were almost in every Lebanese household. I even remember having one in my bedroom in the late 1990s, when I was around 6 years old. I was told that buying porn films on VHS was popular at the time. Mohammed Soueid, a Lebanese writer and filmmaker, once told me that movie theaters used to screen art films and pornography from the mid-1980s to the mid-1990s, so that they could survive. I also heard that projectionists would cut up porn reels to make different montages, so that they could screen something different every night. Eventually, people stayed within the comforts of their homes to watch VHS tapes on their televisions, and movie theaters began to run out of business.
Sequence 4
My cousin went back downstairs to go through an archive of paperwork in the office space. I stayed in the booth and began to slip the film strip between my index and middle finger, sliding it up with my thumbs and slowly running the frames through my hands. I lifted the strip against the dusty window and squinted to make sense of the monochrome vignettes. In this series of frames was an extreme close-up of a dick shoved into a vagina. It went on for several frames until I came across a knot in the film, and I imagined the rest.
Sequence 5
Hank is showcasing his hard-on in front of Veronika who is lying in bed across a Louis XIV secrétaire knockoff. She gets up slowly and slides the thin strap of her see-through négligé off her left shoulder. Hank unties her veiled robe, turns her around, slaps her ass, and pushes her down against the secrétaire. He thrusts his dick inside her pussy repeatedly as the back of the furniture bangs against the wallpaper-adorned wall.
Sequence 6
I was always attentive to the interior décor, ever since I was told by my Women in Porn Studies professor that the largest porn archives in North America are interestingly used to examine the middle-class furniture of that epoch. So, while Veronika is bending over and being taken from behind by Hank, a university research assistant could very well be trying to guess the design of the gold motif on the secrétaire, or study the rococo relief on a wooden chair in some corner.
For a moment, the booth became a space for female sexual imagination, disrupting a space otherwise promised for the freedom of male sexuality. I was sure that only men were able to access movie theaters that screened porn films. The film reel was too entangled to undo in a projection booth where dust had accumulated for over a decade, so I stuffed it into my duffle bag and walked out of the theater.
I am not sure what came over me, but I felt compelled to keep it. I wanted to feel the thrill of safeguarding something mysterious, something unorthodox. In my mind, I was sure people knew I was hiding something as I walked down the street. A feeling of guilt intertwined with pleasure came over me. It felt kinky.
Sequence 7
I got into the house, preoccupied with the thought of having a porn reel in my duffle bag and the stream of thoughts that had unfolded on my walk home. I immediately went to my bedroom. In some distant part of my mind, I remembered that I shared a wall with Layla’s room next door. She was probably not home, but the possibility of being heard excited me. I closed my bedroom door and I took the film strip of Ishtar out.
I imagined her dressed in a light green veiled dress, dancing seductively in front of me, swinging her hips sideways and smiling with her eyes. I got onto my bed. I slipped my fingers into my panties. I lifted my hips. I trailed my hand down my thighs to part them, and slid two fingers in. I tensed up as I palpated my various creases. I moaned before I could stop myself. I panted and swayed. The rays of sun coming through my window planted reluctant kisses onto my skin. I held my breath in and my limbs quivered. I swallowed my breath and laid flat on the mattress.
Sequence 8
When I was an undergraduate student, I had taken an introductory film class and Professor Erika Balsom had scheduled a screening of Bette Gordon’s Variety. I was excited to watch producer Christine Vachon’s first film before she moved onto producing films that are now part of the New Queer Cinema movement. Variety was described as a feminist film about Christine, a woman who begins to work as a ticketing clerk in a porn movie theater in New York city called The Variety Theater. Christine overhears the films at the theater but never goes in. Eventually, she becomes interested in a regular customer, whom she watches closely. She follows him to an adult shop where she stands aside and flips through adult magazines for the first time.
Christine’s voyeurism was displayed in different ways throughout the film. The script was also ridden with excess, and erotic monologues that would be considered obscene or vulgar.
In a scene set in an arcade, she reads erotica to her boyfriend. The camera goes back and forth between a close-up of her boyfriend Mark’s butt as he was playing pinball, swinging his hips back and forth against the arcade machine, and a close-up of Christine’s face as she recited her monologue.
Sequence 9
“Sky was hitchhiking and he got a ride from a woman in a pick-up truck. It was late at night and he needed a place to stay, so she offered him her place.
She showed him to his room and offered him a drink. They drank and talked and decided to turn in. He couldn’t sleep, so he put on his pants and walked down the hall to the living room. He was a stop short of being seen, but he could see. The woman was naked and spread on the coffee table with only her legs dangling over. Her whole body was excitingly white as if it’d never seen the sun. Her nipples were bright pink, fire-like, almost neon. Her lips were open. Her long auburn hair licking the floor, arms stretched, fingers tickling the air. Her oiled body was round with no points, no edges. Slithering between her breasts was a large snake curving up around one, and down between the other. The snake’s tongue licking toward the cunt, so open, so red in the lamp light. Hot and confused, the man walked back to his room, and with great difficulty, managed to fall asleep. The next morning, over strawberries, the woman asks him to stay another night. Again, he couldn’t sleep […]”
Sequence 10
When I was 23, Lynn, the girl I was dating from film class, surprised me by taking me to watch erotica short films on Valentine’s Day. The event took place at The Mayfair Theater, an independent old movie theater. The architecture of the theater recalled North American Nickelodeons, but with a campy touch. Its balconies were decorated with life-size cardboard cutouts of Swamp Thing and Aliens.
That year, the festival was judged by adult star Kacie May and the program consisted of an hour and a half of short films. The content ranged from soft-core machismo-ridden shorts to scat fetish films. We watched a few minutes of what seemed to be heterosexual soft porn. It followed a couple who start making love in a modern living room space, then move to the bedroom. It was mostly footage of them kissing each other, touching each other, and making love missionary-style. Then a woman with a short brown bob crawled onto the bed, licking the back of her own hand in short strokes. She meowed and crawled over the unconcerned couple. They continued to make love. She crawled out to the kitchen, picked up her empty bowl with her teeth, and placed it onto a pillow. She kept walking over them until the end of the short. It seemed quite absurd. I began to laugh, but Lynn looked a bit uncomfortable. I then looked to our left, watching other audience members chugging beers and inhaling popcorn while laughing hysterically. Their uninterrupted laughter and loud comments really set the tone of the festival. Watching the audience became more interesting than watching the erotic films. The Mayfair Theater often showed cult films, and watching cult films is a communal experience.
It’s not exactly how I imagined my mother’s uncle watching porn in my grandfather’s theater. Movie theaters were openly screening porn films at that time, but I could not picture it happening within my mother’s hometown. I pictured him watching the film from the projector in the booth, so he could quickly stop the screening in case any unexpected guests decided to stop by. His friends sat on the balcony in the back. No one could get in from there unless they had a key, so it was safe. They had to think of everything. It was a conservative Christian neighborhood and they would not want to cause any trouble. They were most likely overcome with excitement and guilt. The voices of loud homoerotic banter merged with sound bites of grunting and moaning, but they reminded each other to keep it down every few minutes. They took turns to check the windows to make sure the sound was not loud enough to alarm any neighbors. Sometimes, they would turn off the speaker and there would be no sound.
Sequence 11
After a political protest in 2019, I came across a bookstand on Riad El Solh street, close to Martyr’s Square in downtown Beirut. Towards the end of the table, past the copies of Hugo and de Beauvoir, I found a stack of erotica novels and adult magazines. They were all translations of Western publications. I really did not care which one I picked; I just knew I wanted to own a copy for the thrill of it. I looked for the most interesting cover art.
As he was giving me my change back, the vendor asked me, “Don’t I know you from somewhere?”
He scanned my breasts, gliding his eyes downwards. He probably assumed I worked in the porn or sex industry. I looked into his eyes and said, “No.” I turned around, ready to walk away with my magazine. He then stopped me to say that he had a large archive in his basement, and that he regularly sold porn collections and publications on EBay, to Europe and the USA. Although I was interested in rummaging through that archive, I was not comfortable enough to take his offer. It did not feel safe. I asked him where he found these novels. To my surprise, they were produced in Lebanon.
Walking towards the Riad El Solh statue, I read through the journal I had bought and found the format of the text somewhat canted; the font was a bit smudged, making it illegible. The photographs inside were comprised of faded pornographic collages. It looked raw; I liked that. The title of the novel read, Marcel’s Diaries.
The cover art was clearly a magazine cut-out pasted over a blue sheet. In the picture, a shirtless woman is grabbing her lover’s head, digging her fingers in his hair, while he is kissing her neck from behind. Her skirt is zipped down. Her lover has his hand on her lower right hip. She has her hand over his. Her lips are puckered up and open, almost like she is moaning with pleasure, her 1970s straight blonde hair running down her chest and partially covering her nipples.
I opened the first page. The preface read
شهوات”
“وشذوذ
which either translates to
“Desire
and deviance”
or to
“Desire
and kink”
I read through the first chapter and I found that whoever translated the text had changed the main character’s name to Fouad, an Arabic name. I assumed they wanted their Lebanese male audience to identify. As I read through, I found that all of his lovers had foreign names like Hanna, Marla, Marcel, Marta.
Sequence 12
I realized on page 27, chapter four, that Marcel was one of Fouad’s lovers.
Sequence 13
The scene took place in a movie theater. Movie theaters were often spaces for sexual freedom in North America, especially since the 1970s after the sexual revolution.
I also assumed they kept all the other foreign names so that it sounds exotic and less taboo. Pornography and erotica were attributed to West Hollywood, despite the fact that the Arab world historically produced erotic texts. Erotica became taboo, and the only way to safely produce it was to market it as foreign, as exotic.
It is interesting how the exotic covers for the erotic. The difference between the two adjectives is rooted in their Greek etymologies: exotic is from exo, “outside,” meaning alien or foreign. Erotic is derived from Eros, the god of sexual love. So, what’s exotic is mysterious and foreign – what’s erotic is sexy.
In Lebanon there is a thin line between the exotic and the erotic in cinema, like the thin line between art films and porn films. In 2015, during a conversation with filmmaker Jocelyne Saab in a Vietnamese restaurant in Paris, I learned that she had to shoot her art film Dunia a second time to change the dialect from Egyptian to Lebanese. She told me that her actors were Egyptian, and that she wasn’t strict about the script. She was not allowed to use Egyptian dialect. It had to be in Lebanese because the producers were concerned about the borderline erotic scenes in the film. So, they made it foreign.
WITM - Refreshed INFOGRAPHIC 2 EN
How funding falls short for feminist movements
Feminist movements need core and long-term funding - including savings and reserves - to stay focused on systemic change. Reserves aren’t extras; they're essential for sustainability.
Love letter to feminist movements: A goodbye from Hakima and Cindy
Dear feminist movements,
You welcomed us with open arms when it was announced during the 2016 AWID Forum in Bahia that we would be AWID’s new Co-EDs. It was a moment that felt full of possibility, we were building a feminist oasis that would help sustain our collective struggles forward. We left Bahia with a sharp sense of responsibility, to do our best in your service and to lead AWID in ways that would be most supportive and impactful for you.
It is now time for us to step aside for new leadership!
Over five years into our journey, we are stepping down as AWID’s Co-EDs. Our decision comes as we wrap up the current strategic cycle. We see this as an ideal moment to step aside and support a leadership refresh. We believe that transformative feminist leadership is cyclical.
We so appreciate the opportunity we had to play a role in AWID’s 40 year history, holding and shepherding the organization through the difficult context of global pandemic, and so many spiraling crises.
Feminist movements, we know you will be part of our next journey, whatever that may be. You have consistently taught us about strength and resilience. We may move to different roles, but we will collectively continue to move together.
How We Moved
We have vivid memories of those of you in Indonesia, Malaysia, Nepal, Thailand, Taiwan and beyond who met us to co-create the AWID Forum with so much generosity and spark. Without a doubt, our greatest regret from the last five years is that we could not give you an in-person Forum.
Once we came to the difficult (albeit necessary) decision to cancel the AWID Forum, we focused on grappling with the existential questions so many of our organizations were facing: how do we shift our ways of working to be relevant, account for the exhaustion, sickness, and grief affecting all of us in different ways? How do we build meaningful relationships when we are limited to being online? There are still no straightforward answers to these questions, but feminist movements, you have shown the way.
We were so proud to see the ways feminists were leading responses to mitigate the impacts of COVID-19 on our communities. Feminists are frontline responders in crisis and we will continue to demand recognition and resources for this work. You often responded enthusiastically to our outreach, showing up in amazing ways in our Feminist Bailout campaign and later in the Crear Resister Transform festival. You jumped into collaborative advocacy with us – whether influencing human rights spaces, policy makers or funders.
Our work with you inspired us at AWID to make an important pivot in expanding opportunities for engagement among our members that is not centralized through AWID. We call this a solidarity-based approach to membership and we are excited to be launching this year the AWID Community platform.
You taught us that, since we can’t count on the system, what is especially important is that we show up for each other. We hope that what we did well over these years was to make space for new and deeper relationships and possibilities of mutual support and collaboration.
We give a special shout-out of love and respect to the current and former AWID team (both our staff and Board members) whom we’ve had the honor to work with over these years. We’ve learned from each one of you and felt deep gratitude for everything you have contributed to AWID over the years.
We came into this role as AWID’s first pair of Co-Executive Directors. We learned from the many activist and community traditions of collective leadership and the feminist organizations who had done this before us. We know that we couldn’t have done this job without each other. We were able to leverage each other’s strengths and have each other’s backs to do the best job we could.
What’s Next
We came into role together and are leaving together, even as we will be staggering our departure dates. We are both committed to supporting a smooth transition and deliberate onboarding of the new leadership this year.
Feminist movements, you are in great hands with the AWID team. They’ve got this. And we are proud to be leaving the organization in such a strong and resilient place. Hopefully, we’ll see many of you at the AWID Forum in 2024 – you’ll recognize us as the kicked back, relaxed folks in the audience!
Love and appreciation for all that you’ve done with and for us. Your impact on our lives stretches well beyond the last 5 years, and no doubt will continue to stretch far into the future.
I am pleased to share with you one of my remarkable dates as feminist with disability. It was May 30, 2014 when we (the Nationwide Organization of Visually-Impaired Empowered Ladies NOVEL) participated in the Philippine Fashion Week Holiday 2014 for our white cane advocacy campaign. Two ladies who are blind walked down the catwalk to promote the white cane as one of the symbols of gender equality, empowerment, full inclusion and equal participation of women and girls with visual impairment in society.
Their walk in front of the crowd were extremely a nerve-wracking experience for me, as the proponent of our project with the Runway Productions (I enduringly waited for a year for its approval), knowing that they were not models, they were the crowned Ms. Philippines Vision and 1st Runner Up of 2013 Ms. Philippines on Wheels, Signs and Vision by Tahanang Walang Hagdanan, Inc. (House with No Steps). Also, they fell on their orientation and practiced the evening before the event and they didn’t have practice with professional models. Before the show started, I talked to them via mobile phone to boost their confidence and to pray together for God’s guidance. When they exited the catwalk, I breathed deeply while my tears were flowing. I was feeling euphoric because we did it despite the challenges we’ve been through! Our message to the world that women and girls with visual impairment can walk with dignity, freedom and independence on an equal basis with others, with the use of our assistive device - white canes was successfully delivered! We trended in social media and we were featured by television networks.
My life as a feminist with disability started as a means to mend my broken spirit and to see a different path towards finding my life’s purpose after I became victim-survivor to a vicious acid attack in 2007 while I was waiting for a ride going home from office. My eyes were severely damaged, to the point that I became a woman with low vision.
I never knew how joyful and purposeful my life could be again until I met women leaders in the gender and disability movement who influenced me to keep going. Their words of encouragement attracted me and became the sweetest music to my ears. My broken heart leaped like a hummingbird in flight every time I think of them and feminism which stimulated me to partake in making difference for our invisible sisters with disabilities and to those who continue to experience discrimination. To date, I am consumed by the desire to be with the movement. I cannot hide my excitement whenever I submit project proposals to different stakeholders for our sisters with disabilities' empowerment, development and advancement; and to make representations in local, national and international conversations to amplify our voices even at my expense.
Unexpectedly, I was selected as our country’s female representative in the 2012 World Blind Union (WBU) General Assembly in Thailand even though I was a newcomer in the disability movement. In the same year, I was elected as the only woman officer of the Philippine Blind Union (PBU) in its assembly. I was inspired to reach out, gather and empower our sisters with visual impairment on their rights and to know their intersecting issues. In 2013, we officially launched the Nationwide Organization of Visually-Impaired Empowered Ladies (NOVEL) to support the empowerment of our sisters with disabilities, build coalitions with cross-disability and women’s movements and promote gender and disability-inclusive development.
My participation as co-focal person of women with disabilities in our 2016 CEDAW Shadow Report submission convened by Women’s Legal and Human Rights Bureau (WLB) with the marginalized groups of women, opened many doors such as working with various women’s organizations and attending the 2017 Inclusion Days International in Berlin, Germany together with 3 Filipino women leaders with disabilities to share our good practices, mainly our engagement with the women’s movement in our country.
My journey as feminist with disability has been an emotional roller coaster for me. It gave me happiness and a sense of worth when I participated in promoting for our sisters with disabilities full inclusion, equal and effective participation in society, yet I felt frustrated and upset when I gave my all but I received negative remarks. Nevertheless, I feel that way because I am in love with the movement.
I see my future working in solidarity with the movement to ensure that our sisters with and without disabilities can equally and fully enjoy and participate in society.
Love lots,
Gina Rose P. Balanlay
Feminist with disability
Philippines
A Strategy, a Market and New Voices: Indigenous Women and the AWID Forums
The Forum was a key space for the Indigenous Women’s Movement (IWM) in its relationship to feminism. At AWID Forums, they developed engagement strategies that would then apply at other spaces like the United Nations. In that process, both indigenous women and feminists movements were transformed: new voices and issues emerged and feminists started to change their discourses and practices around land rights and spirituality, they understood collective rights better, and included the IWM in their events and agendas. Mónica Alemán and María Manuela Sequeira, from the IWM, shared this story of change.
WHRDs are self-identified women and lesbian, bisexual, transgender, queer and intersex (LBTQI) people and others who defend rights and are subject to gender-specific risks and threats due to their human rights work and/or as a direct consequence of their gender identity or sexual orientation.
WHRDs are subject to systematic violence and discrimination due to their identities and unyielding struggles for rights, equality and justice.
The WHRD Program collaborates with international and regional partners as well as the AWID membership to raise awareness about these risks and threats, advocate for feminist and holistic measures of protection and safety, and actively promote a culture of self-care and collective well being in our movements.
Risks and threats targeting WHRDs
WHRDs are exposed to the same types of risks that all other defenders who defend human rights, communities, and the environment face. However, they are also exposed to gender-based violence and gender-specific risks because they challenge existing gender norms within their communities and societies.
By defending rights, WHRDs are at risk of:
Physical assault and death
Intimidation and harassment, including in online spaces
Judicial harassment and criminalization
Burnout
A collaborative, holistic approach to safety
We work collaboratively with international and regional networks and our membership
to raise awareness about human rights abuses and violations against WHRDs and the systemic violence and discrimination they experience
to strengthen protection mechanisms and ensure more effective and timely responses to WHRDs at risk
We work to promote a holistic approach to protection which includes:
emphasizing the importance of self-care and collective well being, and recognizing that what care and wellbeing mean may differ across cultures
documenting the violations targeting WHRDs using a feminist intersectional perspective;
promoting the social recognition and celebration of the work and resilience of WHRDs ; and
building civic spaces that are conducive to dismantling structural inequalities without restrictions or obstacles
Our Actions
We aim to contribute to a safer world for WHRDs, their families and communities. We believe that action for rights and justice should not put WHRDs at risk; it should be appreciated and celebrated.
Promoting collaboration and coordination among human rights and women’s rights organizations at the international level to strengthen responses concerning safety and wellbeing of WHRDs.
Supporting regional networks of WHRDs and their organizations, such as the Mesoamerican Initiative for WHRDs and the WHRD Middle East and North Africa Coalition, in promoting and strengthening collective action for protection - emphasizing the establishment of solidarity and protection networks, the promotion of self-care, and advocacy and mobilization for the safety of WHRDs;
Increasing the visibility and recognition of WHRDs and their struggles, as well as the risks that they encounter by documenting the attacks that they face, and researching, producing, and disseminating information on their struggles, strategies, and challenges:
Mobilizing urgent responses of international solidarity for WHRDs at risk through our international and regional networks, and our active membership.
«Ahora sé que somos simplemente hijas e hijos del universo».
El camino de Menke Meijer a menudo fue escabroso. «Tenía muchísimos palos en la rueda, gente que intentaba detenerme, pero todo eso me sirvió para poner más empeño y llegar cada vez más lejos», afirma. La suya es una historia de fortaleza, dedicación, visión, paciencia, liberación y superación de múltiples obstáculos.
«Diría que doy batalla en dos frentes: el primero es la lucha por la igualdad de género y el segundo la lucha contra una historia de colonización y racismo».
Menke en la Gran Muralla China
Como mujer métis de un «entorno muy pobre», Menke enfrentó numerosos obstáculos; para ella, el principal desafío fue «tan solo ser mujer, y en ciertos casos ser mujer indígena». Debió hacer frente al sexismo y al racismo. El estigma y los peligros que se derivan del racismo incidieron en su forma de encontrar su lugar y su identidad como mujer originaria. «Mi familia era bastante renuente a hablar de nuestros orígenes», pero finalmente gracias al esfuerzo de Menke, «comenzó a abrirse al tema». Durante sus estudios de pregrado y de grado, Menke tomó todos los cursos que pudo sobre los Pueblos Originarios de Canadá para aprender más sobre sus raíces.
«He trabajado profundamente para descolonizarme y ayudar a mi familia a reivindicar nuestras identidades».
Parte de ese trabajo fueron las decisiones que tomó, y la más grande e importante fue la de «estudiar». Sabía que eso «constituía una apuesta peligrosa, porque implicaba asumir una deuda abultada», pero también se dio cuenta de que, en comparación con su experiencia anterior de trabajar por un salario mínimo, con el estudio se le abría un camino más promisorio.
«Escogí seguir mis pasiones sin importar las dificultades. Eso cambió para bien no solo la persona que soy, sino mi vida entera».
Menke obtuvo una licenciatura en Historia en la Universidad de Concordia (Montreal), con una Beca/Distinción por mérito Gordon Ritchie. Sin embargo, mientras estudiaba la esclavitud, las guerras y los genocidios se sintió frustrada y quiso «entrar en acción» más allá de los libros. Por eso, decidió hacer una maestría en Estudios sobre Paz y Resolución de Conflictos en la Universidad de Waterloo, enfocando su trabajo de tesis en género, conflictos y consolidación de la paz; género y ayuda humanitaria; y sobre todo en las mujeres de China.
«En las dos ramas de mi familia, soy la primera mujer en obtener una licenciatura y una maestría. Estoy rompiendo barreras de género y raciales. Nunca me había sentido tan viva y realizada. Me siento liberada».
En China, Menke realizó un pasantía de cinco meses de duración con ONU Mujeres, que en su opinión fue «una experiencia extraordinaria en lugares extraordinarios». Durante ese tiempo, fue convocada por la Universidad de Tsinghua en Beijing como oradora invitada para el evento Lean In MBA donde, a través de su propia historia, habló (disponible en inglés) de la superación de las barreras con las que tropiezan las mujeres cuando quieren estudiar. Contó que «Fui criada en la pobreza por una madre soltera y tuve que hacer frente a muchos desafíos para avanzar en mi educación».
La motivación de Menke para superar diversos desafíos y luchar por el cambio fue, en buena parte, la ira que le despertaron los obstáculos que se le presentaban en el camino. «La ira puede ser destructiva, pero también puede ser creativa. Los desafíos me enfadan, pero también me empujan a luchar por algo mejor».
Luchar por algo mejor significa también tener muchos sueños «para todas las mujeres, sin importar si son blancas, negras, asiáticas o de cualquier otro color, credo o condición social». Menke desea que «el mundo valide a las mujeres», pues «nada es más movilizador como que te digan que eres un ser humano como cualquier otro».
Algunos datos más sobre Menke
Tuvo oportunidad de formar parte del equipo que ayudó a crear el Global Peace Centre Canada [GPCC, Centro Mundial para la Paz de Canadá] en Waterloo, fundado por el director de la Maestría en Estudios sobre Paz y Resolución de Conflictos, Ziauddin Yousafzai (padre de Malala Yousafzai). La visión y el objetivo del GPCC son lograr la paz y la educación para todos los niños y las niñas.
Menke nació en la Columbia Británica, creció en Quebec y actualmente reside en Ontario, Canadá.
Lee un cuento escrito por Menke
Menke escribió un cuento titulado «Feeding Wolves», (disponible en inglés) basado en su vida como mujer métis y en las experiencias de los pueblos originarios en Canadá. Sobre el cuento, Menke expresó que «Solo tres de sus personajes son mujeres ... Eso lo hice a propósito no solo para poner en evidencia el tema del patriarcado que está muy presente en la sociedad de los colonos incluso hasta hoy, sino también para mostrar de qué manera las mujeres están ausentes de la narrativa...».
« Je sais maintenant que nous sommes toutes et tous simplement des enfants de l’univers. »
Le parcours de Menke Meijer a été semé d’embûches. « On m’a mis une quantité inimaginable de bâtons dans les roues, de nombreuses personnes ont tenté de m’arrêter. Mais ils ont seulement réussi à me faire déployer davantage d’énergie pour aller encore plus loin », déclare-t-elle. Son existence a été faite de force, de dévouement, de vision, de patience, de libération et, pour cela, elle a dû surmonter de multiples obstacles.
« Je dirais que je me bats sur deux fronts : le premier étant la lutte pour l’égalité de genre et le second, la lutte contre toute une histoire de colonisation et de racisme. »
Menke sur la Grande Muraille de Chine
Femme de la nation métis (lien en anglais) et « d’origine très pauvre », Menke a été confrontée à de nombreux obstacles, le défi le plus grand qu’elle ait eu à relever étant « le simple fait d’être une femme et, dans certains cas, d’être une femme aborigène ». Elle a souffert du sexisme et du racisme. La stigmatisation et les dangers qui prennent leur source dans le racisme ont pavé le chemin qui lui a permis de se positionner et de définir son identité de femme aborigène. « Les membres de ma famille étaient réticent-e-s à parler de nos origines » mais finalement, grâce aux efforts déployés par Menke, ils/elles ont « commencé à s’ouvrir sur ce sujet ». Pendant ses études universitaires de premier cycle et des cycles supérieurs, Menke a choisi de suivre tous les cours existants sur le thème des peuples des Premières Nations du Canada, dans le but d’en apprendre davantage sur ses origines.
« J’ai travaillé dur pour me décoloniser par moi-même et pour aider ma famille à se réapproprier son identité. »
Pour accomplir ce travail, Menke a notamment dû prendre des décisions, parmi lesquelles la plus grande et la plus importante a été « la décision de poursuivre (s)es études ». Elle était consciente du fait que ce choix « étaient un pari risqué, parce que les prêts étudiants créent un lourd endettement ». Mais elle savait aussi que, en comparaison avec les emplois au salaire minimum qu’elle avait occupés, le chemin qui s’ouvrait devant elle serait beaucoup plus gratifiant.
« J’ai fait le choix de vivre mes passions, quel qu’en soit le prix. Cela m’a changée dans le sens positif du terme, et cela a changé ma vie. »
Menke a obtenu une licence en histoire à l’Université Concordia de Montréal, et a remporté la bourse Gordon Ritchie, une récompense fondée sur le mérite. Mais, en étudiant l’esclavage, les guerres et les génocides, elle s’est sentie frustrée. En plus de se plonger dans les livres, elle voulait « agir ». Elle a donc décidé de préparer un master en études de la paix et des conflits à l’Université de Waterloo, son mémoire de master portant principalement sur les thèmes suivants : le genre dans les conflits et la consolidation de la paix, le genre dans l’aide humanitaire et, plus particulièrement, les femmes en Chine.
« Je suis la première femme des deux branches de ma famille à être titulaire d’une licence universitaire et d’un master. J’ai brisé les barrières du genre et de la race. Je ne me suis jamais sentie aussi vivante et aussi accomplie. Je me sens libérée. »
En Chine, Menke a effectué un stage de cinq mois au sein de l’ONU Femmes, « une expérience extraordinaire dans un environnement extraordinaire », déclare-t-elle. Pendant cette période, elle a été invitée par la Tsinghua University de Beijing à s’exprimer lors d’un événement Lean In destiné aux étudiant-e-s de MBA. Par le biais de sa propre histoire, elle a évoqué les moyens de forcer les « barrages » qui empêchent les femmes de poursuivre leurs études. Elle a notamment partagé sa propre histoire en ces mots : « j’ai été élevée dans la pauvreté par une mère célibataire. J’ai dû surmonter de nombreux obstacles pour parfaire ma formation. »
Dans son travail sur les moyens de surmonter des difficultés multiples et de tendre vers le changement, Menke a été motivée par la colère, celle qu’elle a ressentie face aux difficultés qu’elle a elle-même dû surmonter. « Le peur peut détruire, mais elle peut aussi être source de création. Les défis auxquels j’ai été confrontée m’ont mise en colère, mais ils m’ont aussi poussée à tendre vers le meilleur. »
C’est précisément parce qu’elle tend vers le meilleur que Menke a de nombreux rêves « pour toutes les femmes, qu’elles soient blanches, noires, asiatiques ou de n’importe quelle couleur, peu importent leurs convictions religieuses et leur chemin de vie. » Menke veut que « le monde reconnaisse les femmes », car « rien n’est plus touchant que de s’entendre dire qu’on est juste un être humain ».
Quelques éléments complémentaires au sujet de Menke
Elle a eu la possibilité de faire partie de l’équipe qui a contribué à la création du Global Peace Centre Canada (GPCC) de Waterloo, un projet mené à l’initiative du directeur du programme de master en études de la paix et des conflits, Ziauddin Yousafzai (le père de Malala Yousafzai). La vision et la finalité du GPCC sont la paix et l’éducation pour tous les garçons et toutes les filles.
Menke est née en Colombie-Britannique, a grandi à Québec et vit maintenant dans l’Ontario, au Canada.
Lisez la nouvelle écrite par Menke
Menke a écrit une nouvelle intitulée « Feeding Wolves » (Nourrir les loups). Elle est basée sur sa vie de femme de la nation métis et sur le vécu des peuples aborigènes du Canada. À ce sujet, Menke a déclaré : « seuls trois des personnages sont des femmes… il s’agit d’un parti pris volontaire car je voulais aller plus loin que de simplement traiter du patriarcat, un thème encore très présent dans la société coloniale. Je voulais montrer que les femmes sont absentes du récit. »
“Now I know we are all simply children of the universe.”
Menke Meijer’s path was often rocky. “I had mountains of sticks put in my wheels, people trying to stop me, but it has only helped me push harder and further”, she says. Her story is one of strength, dedication, vision, patience, liberation, and one of breaking down multiple barriers.
“I would have to say I’m fighting two fronts: the first being the fight for gender equality and the second being the fight against a history of colonization and racism.”
Menke at the Great Wall of China
As a Métis woman from a “very poor background”, Menke faced numerous obstacles, seeing her biggest challenge as “simply being a woman, and in certain cases being an aboriginal woman”. She has been confronted with sexism and racism. The stigma and dangers rooted in racism have influenced her way in finding her position and identity as an aboriginal woman. “My family was quite reluctant to speak about our origins” but eventually through Menke’s efforts they “started to open up on the subject.” During her undergraduate and graduate studies, Menke took all the courses she could on the subject of First Peoples in Canada in order to learn more about her origins.
“I’ve been working hard on decolonizing myself and helping my family in reclaiming our identities.”
Part of this work were decisions Menke took, and the biggest and most important being her “decision to pursue education”. She was aware that this “meant a dangerous gamble with hefty student debt” but she also realized that, in comparison to her previous experience in minimum wage work, this was a much more rewarding journey for her.
“I picked to pursue my passions no matter the hardship. It has changed who I am positively, as well as my life.”
Menke obtained a Bachelor’s degree in History from Concordia University in Montreal, winning a merit-based Gordon Ritchie Award/Scholarship. Yet, while studying about slavery, war, and genocide she felt frustrated and in addition to books, she wanted to “take action”. Menke decided to pursue a Master’s degree in Peace and Conflict Studies at the University of Waterloo, focusing her Master’s work on gender in conflict and peacebuilding, gender in humanitarian aid, and especially on women in China.
“I’m the first woman to hold a Bachelor’s and a Master’s degree on both sides of my family. I’m breaking down gender and racial barriers. I’ve never felt so alive and accomplished. I feel liberated.”
In China, Menke completed a five-month internship with UN Women, for her “an extraordinary experience in extraordinary settings.” During this time, she was invited as a guest speaker at Tsinghua University in Beijing for the Lean In MBA event where, through her own story, she spoke about overcoming ‘roadblocks’ women face in seeking education. As part of her story she shared, “I was raised by a single mother in poverty and had to face many challenges to further my education”.
Much of Menke’s work towards overcoming multiple challenges and striving for change has been pushed by anger, coming from obstacles that were in her way. “Anger can be destructive, but it can also be creative. My challenges anger me, but they also push me to strive for better.”
Striving for better also means having many dreams “for all women, no matter they be white, black, Asian, or any colour, creed or walk of life”. Menke wants “the world to validate women” as “nothing is more moving than being told that you are just a human”.
A bit more about Menke
She had the opportunity to be part of a team that helped establish the Global Peace Centre Canada (GPCC) in Waterloo, initiated by the director of the Master’s of Peace and Conflict Studies program Ziauddin Yousafzai (and Malala Yousafzai’s father). The vision and goal of the GPCC are peace and education for all boys and girls.
Menke was born in British-Columbia, grew up in Quebec and is currently living in Ontario, Canada.
Read Menke’s short story
She wrote a short story entitled “Feeding Wolves”, based on her life as a Métis woman and aboriginal peoples’ experiences in Canada. About the story Menke said that “only three characters are female…I did this on purpose to not only expose a theme of patriarchy that is strongly present in settler society even to this day, but to show how the women are missing from the narrative...”
Il est fréquent que les populations marginalisées et les personnes vivant dans la pauvreté doivent composer avec une série d’obstacles qui les empêchent d’avoir accès à la justice. Il suffit de citer les frais juridiques élevés, la discrimination et le manque généralisé d’information. Ces situations ont fait de l’accès à la justice l’apanage des gens riches et influents, plutôt qu’un droit pour tout un chacun. À cet égard, « en tant que société mondiale, nous n’avons pas réellement progressé au-delà de l’époque féodale », affirme l’Alliance mondiale pour l’aide juridique (Global Alliance for Legal Aid, GALA).
Afin de contribuer à modifier certaines des inégalités actuelles sur le plan de l’accès à la justice, GALA, une alliance de juristes, offre gratuitement des services d’aide juridique et de défense de l’intérêt public pour ceux qui en ont le plus besoin, particulièrement dans les pays de l’hémisphère sud.
« GALA : où aucun et aucune activiste n’est une île. »
Initiatives mondiales actuelles
Certains groupes et individus éprouvent souvent des difficultés à trouver de l’aide juridique gratuite. On peut notamment évoquer les victimes d’accaparement des terres; les personnes subissant des préjudices découlant de la pollution environnementale ou d’autres lésions corporelles en raison de la conduite gouvernementale illégale ou du comportement des grandes sociétés; les femmes dont on a abusé qui souhaitent divorcer; ou encore les personnes qui ont été leurrées par des fournisseurs de services financiers non réglementés. Par exemple, suivant la mise en place d’un système pyramidal en Ouganda, des milliers de personnes ont perdu des millions de dollars. GALA représente actuellement 3 000 victimes de ce système, en collaborant avec son partenaire local, la direction de la faculté de droit/d’administration de l’Université Makerere de Kampala.
« Les enjeux qui préoccupent GALA ont une vaste portée et ils touchent entre autres aux sphères suivantes : la défense de l’intérêt public pour les victimes de fraudeurs financiers; la défense et la prévention liées à l’accaparement des terres; la protection environnementale; la réforme carcérale; les droits des femmes et des veuves; les droits des migrants; et l’aide juridique destinée aux personnes vivant dans la pauvreté. »
GALA nous affirmait qu’en Ouganda, à la suite d’une fraude impliquant de fausses institutions de microfinance, « plusieurs victimes se sont suicidées » et que « les criminels vivent au vu et au su de tous, profitant des fruits de leurs délits, l’État n’ayant intenté aucune poursuite à leur endroit ». Il en est ainsi parce qu’ils « ont soudoyé les juges et les politiciens, alors que les personnes pauvres ne peuvent se permettre de payer pour obtenir justice ». En plus des efforts investis en Ouganda, l’alliance a établi un nouveau partenariat au Koweït et dirige des initiatives en cours à la Grenade.
Créer des cliniques d’aide juridique
Outre les initiatives qui occupent actuellement GALA, l’alliance planifie des percées en Inde et en Grèce, le ‘berceau de la démocratie’. L’alliance estime tout simplement non démocratique et inconstitutionnel le fait que les tribunaux grecs « exigent que les personnes voulant faire valoir leurs droits versent un cautionnement en fonction de l’éventuelle valeur de la cause ». Il s’agit d’un obstacle évident à l’application des droits au sein des tranches marginalisées et pauvres de la société. Ainsi, l’un des projets qu’envisage GALA porte sur la création de cliniques d’aide juridique.
« À ce jour, nous avons constaté que dans les endroits où GALA est à l’œuvre, il n’existe pas de cliniques d’aide juridique ni d’avocats et avocates pro bono. »
Évidemment, ce projet exige non seulement une solide planification, mais également du financement. GALA est à élaborer une étude de faisabilité à Kampala et à la Grenade afin de commencer à offrir de l’aide juridique et à établir ses propres cliniques. Il est difficile de se l’imaginer, mais l’alliance nous a indiqué qu’à la Grenade (population de 100 000 habitants), « il n’existe absolument aucun service d’aide juridique sur l’île, [il n’y a] que 12 avocat-e-s de la défense » et aucune faculté de droit. En fait :
« L’université ‘locale’ est en fait une faculté de médecine américaine. » - GALA
Représentant des droits humains (à la Grenade) Milton Coy et Jami Solli, Directrice exécutive de GALA
Dans le contexte et l’environnement si pénibles que décrit GALA, l’alliance devra bâtir à partir de zéro. Elle est néanmoins déterminée à offrir de l’aide et de l’information juridiques « à la fois aux personnes accusées, incarcérées ‘en détention provisoire’ et en attente de procès et aux victimes de crimes ». GALA examine la possibilité de solliciter le soutien d’étudiant-e-s en droit d’autres pays qui seraient supervisés par un avocat ou une avocate de la localité. Elle souhaite également l’appui de la Grenada Human Rights Association, affiliée à GALA.
Toujours en Ouganda, GALA prévoit de commencer à offrir de l’aide juridique en 2016, avec l’aide d’étudiant-e-s en droit supervisés par un professeur de droit ou un praticien du domaine. Le projet sera réalisé en collaboration avec son partenaire local, soit la direction de la faculté de droit/d’administration de l’Université Makerere. Restez attentifs à cette évolution!
« Un goût de justice »
Pour soutenir sa mission, ainsi que les initiatives en cours et celles qui sont planifiées, GALA vend des produits de commerce équitable, notamment du café provenant d’Ouganda, par l’entremise d’un partenariat avec ThanksgivingCoffee. L’alliance prévoit de vendre et distribuer d’autres produits de commerce équitable afin de proposer un produit de chaque pays où elle offre de l’aide juridique ou soutient une cause d’intérêt public. Vous pouvez visiter ici la boutique de café en ligne tenue par GALA.
Connectez-vous :
Obtenez plus de renseignements sur GALA en visitant son site Web et sa page Facebook.
Often, marginalized populations and people living in poverty face numerousobstacles in accessing justice, including high legal costs, discrimination and a general lack of information. This has made accessing justice more of a commodity of the wealthy and influential than a right for all. In this regard, “we as a global society have not truly progressed beyond feudal times.” says the Global Alliance for Legal Aid (GALA).
To help change some of the existent inequalities in accessing justice, GALA, an association of jurists, provides freelegal aid and public interest advocacy to those who most need it, specifically in Global South countries.
“GALA: where no advocate is an island.”
Current Global Initiatives
It is often difficult for certain groups and individuals to find free legal assistance. This includes victims of a land grab, those suffering harm due to environmental pollution or other bodily harm by illegal government or corporate conduct, abused women seeking to file for divorce, or those who have been deceived by providers of unregulated financial services. For example, as a result of a pyramid scheme in Uganda, thousands of people have lost millions of dollars. GALA currently represents 3,000 victims of this scheme by working together with its local partner, the head of the business/law faculty at Makerere University in Kampala.
"GALA’s issue scope ranges from public interest advocacy for victims of financial fraudsters; to land grab defense and prevention; environmental protection; prison reform; women’s and widow’s rights, migrants’ rights and legal aid for the poor."
GALA told us that, in Uganda, as a consequence of fraud by fake micro-finance institutions “several of the victims committed suicide” and that “the criminals are living openly, enjoying the fruits of their theft and the state has not prosecuted them.” The reason being that they have “paid off judges and politicians but the poor cannot pay for justice”. In addition to working in Uganda, the association has a new partnership in Kuwait and ongoing initiatives in Grenada.
Envisioning Legal Aid Clinics
Beyond GALA’s current initiatives, the association is planning further outreach in India and Greece, the ‘birthplace of democracy.’ The association describes simply undemocratic and unconstitutional that the Greek courts “have been requiring that persons who want to enforce their rights file a bond based on the potential value of the case.” This is a clear obstacle to enforcing rights of the marginalized and poor parts of the society. So, one of the projects GALA is thinking about are legal aid clinics.
“What we have found thus far is that in places where GALA is working, there are not any legal aid clinics or pro bono lawyers.”
This of course takes not only much planning but also funding. GALA is now working on a feasibility study in Kampala and Grenada aiming to start supplying legal aid and establishing its own clinics. It’s hard to imagine but the association told us that in Grenada (population of 100,000) “there is no legal aid provided on the island whatsoever, [there are] only 12 criminal defense lawyers” and there no law faculty. In fact:
“The ‘local’ university is in reality a US medical school.”- GALA
Grenada human rights representative Milton Coy and GALA Executive Director Jami Solli
In such a difficult case and environment, as GALA described, the association will be starting from ground zero but is determined to offer legal aid and information “both to the accused who are incarcerated ‘on remand’ awaiting trial, and to crime victims”. The association is considering seeking support of law students from other countries but with the supervision by a local lawyer and the Grenada Human Rights Association, GALA’s affiliate.
Similarly in Uganda, GALA envisions 2016 as a year where they would start providing legal aid through law students supervised by a law professor or practitioner and through GALA’s local partner, the head of the business/law faculty at Makerere University. Stay tuned for this!
“A taste of Justice”
To support its mission, ongoing and planned initiatives, GALA sells fair trade products such as its current offer, coffee from Uganda through a partnership with Thanksgiving coffee. GALA plans to establish other fair trade product sales and distribution in order to sell a product from every country where it provides legal aid or supports a public interest case. Here you can visit GALA's coffee online store.
