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.
While we dream of a feminist world, there are those who are already building and living it. These are our Feminist Realities!
What are Feminist Realities?
Feminist Realities are the living, breathing examples of the just world we are co-creating. They exist now, in the many ways we live, struggle and build our lives.
Feminist Realities go beyond resisting oppressive systems to show us what a world without domination, exploitation and supremacy look like.
These are the narratives we want to unearth, share and amplify throughout this Feminist Realities journey.
Transforming Visions into Lived Experiences
Through this initiative, we:
Create and amplify alternatives: We co-create art and creative expressions that center and celebrate the hope, optimism, healing and radical imagination that feminist realities inspire.
Build knowledge: We document, demonstrate & disseminate methodologies that will help identify the feminist realities in our diverse communities.
Advance feminist agendas: We expand and deepen our collective thinking and organizing to advance just solutions and systems that embody feminist values and visions.
Mobilize solidarity actions: We engage feminist, women’s rights and gender justice movements and allies in sharing, exchanging and jointly creating feminist realities, narratives and proposals at the 14th AWID International Forum.
The AWID International Forum
As much as we emphasize the process leading up to, and beyond, the four-day Forum, the event itself is an important part of where the magic happens, thanks to the unique energy and opportunity that comes with bringing people together.
We expect the next Forum to:
Build the power of Feminist Realities, by naming, celebrating, amplifying and contributing to build momentum around experiences and propositions that shine light on what is possible and feed our collective imaginations
Replenish wells of hope and energy as much needed fuel for rights and justice activism and resilience
Strengthen connectivity, reciprocity and solidarity across the diversity of feminist movements and with other rights and justice-oriented movements
بدأنا التخطيط لعدد المجلّة هذا مع نانا داركوا قُبيل مهرجان «ابدعي، قاومي، غيٍّري: مهرجان للحراكات النسوية» لجمعية «حقوق المرأة في التنمية» AWID، وانطلقنا وقتها من سؤالٍ هو بالأحرى ملاحظة حول حالة العالم، ورغبة في تغيير الاعتقادات السائدة: لماذا لا تزال جنسانيّاتنا وملذّاتنا تخضع للترويض والتجريم مع أنّه يتمّ تذكيرنا مراراً وتكراراً بأنّها لا تأتي بأيّ قيمة أو تطوّر؟ واستنتجنا أنّ جنسانيّاتنا، لمّا تتجسّد، فيها ما يتعارض مع النظام العالمي الذي ما زال يتجلّى من خلال ضوابط الحدود، والتمييز العنصري في توزيع اللقاح، والاستعمار الاستيطاني، والتطهير العرقي، والرأسمالية المُستشرية. هل يمكننا إذاً القول إنّ لجنسانيّاتنا قدرةٌ تعطيليّة؟ وهل يصحّ هذا القول عندما ننظر إلى واقع حركاتنا التي يتمّ الاستيلاء عليها ومأسستها في سعيها للتزوّد بالموارد؟
Join us through the #FreezeFascisms conversations!
As we navigate the global polycrisis, movements are tirelessly building power beyond traditional power structures. The wave of US presidential executive orders is intended to scare us, but no amount of fascist ideology can erase our existence and resistance.
We invite you to be a part of the solidarity-building campaign to expose and resist fascist forces undermining feminist and gender justice movements in your contexts!
Spark conversations in a brave space: Share stories of struggles and resistance to fascisms in your contexts on the AWID Community Platform. Not a member yet? Join here
Support movements that have been impacted: Amplify fundraisers, resourcing opportunities, mutual aid efforts using the #FreezeFascisms (we’re still on X, Instagram, LinkedIN, and we’re also on Bluesky)
Organize around alternatives: We’ve been building our community of practice on feminist economic alternatives & autonomous resourcing. Sign up to be part of it here.
Sexting Like a Feminist: Humor in the Digital Feminist Revolution Snippet Small
Sexting Like a Feminist: Humor in the Digital Feminist Revolution
by Chinelo Onwualu
On September 2nd, 2021, the amazing feminist and social justice activists of AWID’s Crear | Résister | Transform festival came together not only to share resistance strategies, co-create, and transform the world, but also to talk dirty on Twitter.
Host: We tend to think about communicating desire as something that is limited to the private intimacy of the bedroom and our personal relationships. But can we also think of this kind of communication as a structure, a praxis that informs our work, and how we are, how we do in the world?
Lindiwe
I believe that unfortunately in the past, expressing your sexuality has been limited. You were allowed to express it within the confines of your marriage, which was permitted, there have always been taboo and stigmas attached to expressing it any other way. When it comes to communicating, obviously the fact that certain stigmas are attached to expressing your sexuality or expressing your desire makes it a lot harder to communicate that in the bedroom or intimately with your partner. From my personal experience, I do believe that obviously if I feel more comfortable expressing myself outside of the bedroom on other matters or other topics, it’s easier for me to build that trust, because you understand conflict resolution with that particular person, you understand exactly how to make your communication special towards that particular person. It’s not easy. It’s something that is consistently done throughout whatever your engagement is, whether it’s your relationship or whether it’s casual and just in the moment. But I believe that confidence outside can definitely translate to how you communicate your desire.
Manal
Since childhood, a woman is raised with that, “you’re not allowed to talk about your body, you’re not allowed to talk about your desire,” which puts a heavy responsibility on women, especially girls in their teens when they need to express themselves and talk about these issues. So for me I think this is a big problem. You know, I have been married for more than 25 years, but still, until now, I cannot talk about my desires. I cannot say what I want or what I prefer, because it’s like I’m not allowed to go beyond this line. It’s like haram, despite it being my right. This is the case for all my friends, they just can’t express themselves in the right way.
Louise
Personally, I find that expressing our desires, my desires, however that expression comes in hand, has to do with the other, and the gaze that the other would have on me. So this is also something that we can link to cinema. And the gaze I would have on myself as well: what I think I am as an individual, but also what society expects of me and my sexuality. In the past, I somehow did the analogy between what happens in the bedroom and what happens in the workplace, because there is sometimes this dynamic of power, whether I want it or not. And oftentimes, verbal communication is harder than we think. But when it comes to representation in film, that’s a totally different game. We are very far away from what I guess all of us here would like to see on screen when it comes to just communicating sexual desires inside or outside the bedroom.
Online and Embodied
Host: We can think about the digital world as embodied: while it might be virtual, it is not less real. And this was made clear in the context of AWID’s feminist realities festival, which took place entirely online. What does it mean then to talk about sexuality, collectively, politically, in online spaces? Do we navigate virtual spaces with our bodies and affects, and in this case, what are the different considerations? What does it do to communication and representation?
Lindiwe
Social media makes you feel community-based. When you express what it is that you want or like, there is someone who’s either going to agree or disagree, but those who do agree make you feel that you belong to a community. So it’s easier to throw it out into the universe, or for others to see, and potentially not get as much judgment. And I say this very loosely because sometimes, depending on what it is that you’re expressing, it either will get you vilified or celebrated. But when it comes to the bedroom, there is an intimacy and almost a vulnerability that is exposing you and different parts of you that is not as easy to give your opinion on. When it comes to expressing your desire, speaking it and saying it and maybe putting a Tweet or a social media post, or even liking and reading other communities that are same-minded is a lot easier than telling your partner, “this is how I want to be pleasured” or “this is how what I want you to do next,” because of the fear of rejection. But not only that, just the vulnerability aspect – allowing yourself to be bare enough to let the other person see into what you are thinking, feeling, and wanting – I think this is where the difference would come in for me personally. I feel it is a lot more community-based on social media, and it’s easier to engage in discourse. Whereas in the bedroom, you don’t want to necessarily kill the moment. But I think that also kind of helps you understand going forward, depending on the relationship with the person, how you would engage thereafter. So I always know that if I try to communicate something and I fail to do so in the moment, I can always try to bring it up outside of that moment and see what the reaction would be so I know how to approach it going forward.
Louise
You know the question in films is, I don’t know if the male gaze is done intentionally or not. Like we don’t really know that. What we know is that the reason why sexuality in general has been so heternormative and focused on penetration and not giving any space for women to actually ask for anything in films, is because most of the people who have been working in this industry and making decisions in terms of, you know, storytelling and editing have been white men. So rape revenge is this very weird film genre that was birthed in the 70s, and half of the story would be that a woman is being raped by one or multiple people, and in the other half, she would get her revenge. So usually she would murder and kill the people who have raped her, and sometimes other people next to them. At the beginning of the birth of this genre and for 30 years at least, those films were written, produced, and directed by men. This is why we also want so much representation. A lot of feminists and pioneers in queer filmmaking also used the act of filming in order to do that and to reclaim their own sexuality. I’m thinking about Barbara Hammer, who’s a feminist and queer pioneer in experimental cinema in the U.S. where she decided to shoot women having sex on 16mm, and by doing so reclaimed a space within the narrative that was exposed in film at that time. And there is also then the question of invisibilization: we know now, because of the internet and sharing knowledge, that women and queer filmmakers have been trying and making films since the beginning of cinema. We only realize it now that we have access to databases and the work of activists and curators and filmmakers.
Resisting Colonization
Host: And this opens up the conversation on the importance of keeping our feminist histories alive. The online worlds have also played a crucial role in documenting protests and resistance. From Sudan to Palestine to Colombia, feminists have taken our screens by storm, challenging the realities of occupation, capitalism, and oppression. So could we speak of communicating desire – the desire for something else – as decolonization?
Manal
Maybe because my village is just 600 residents and the whole village is one family – Tamimi – there are no barriers between men and women. We do everything together. So when we began our non-violent resistance or when we joined the non-violent resistance in Palestine, there was no discussion whether women should participate or not. We took a very important role within the movement here in the village. But when other villages and other places began to join our weekly protests, some men thought that if these women participate or join the protests, they will fight with soldiers so it will be like they’re easy women. There were some men who were not from the village who tried to sexually harass the women. But a strong woman who is able to stand in front of a soldier can also stand against sexual harassment. Sometimes, when other women from other places join our protest, they are shy at first; they don’t want to come closer because there are many men. If you want to join the protest, if you want to be part of the non-violent movement, you have to remove all these restrictions and all these thoughts from your mind. You have to focus on just fighting for your rights. Unfortunately, the Israeli occupation realizes this issue. For example, the first time I was arrested, I wear the hijab so they tried to take it off; they tried to take off my clothes, in front of everybody. There were like 300-400 people and they tried to do it. When they took me to the interrogation, the interrogator said: “we did this because we want to punish other women through you. We know your culture.” So I told him: “I don’t care, I did something that I believe in. Even if you take all my clothes off, everybody knows that Manal is resisting.”
Lindiwe
I think even from a cultural perspective, which is very ironic, if you look at culture in Africa, prior to getting colonized, showing skin wasn’t a problem. Wearing animal skin and/or hides to protect you, that wasn’t an issue and people weren’t as sexualized unless it was within context. But we conditioned ourselves to say, “you should be covered up” and the moment you are not covered up you are exposed, and therefore it will be sexualized. Nudity gets sexualized as opposed to you just being naked; they don’t want a little girl to be seen naked. What kind of society have we conditioned ourselves to be if you’re going to be sexualizing someone who is naked outside of the context of a sexual engagement? But environment definitely plays a big role because your parents and your grannies and your aunts say “no, don’t dress inappropriately,” or “no, that’s too short.” So you hear that at home first, and then the moment you get exposed outside, depending on the environment, whether it’s a Eurocentric or more westernized environment to what you are used to, then you are kind of free to do so. And even then, as much as you are free, there’s still a lot that comes with it in terms of catcalling and people still sexualizing your body. You could be wearing a short skirt, and someone feels they have the right to touch you without your permission. There is so much that is associated with regulating and controlling women’s bodies, and that narrative starts at home. And then you go out into your community and society and the narrative gets perpetuated, and you realize that you get sexualized by society at large too, especially as a person of color.
Resistance as Pleasure
Host: And finally, in what ways can our resistance be more than what we are allowed? Is there a place for pleasure and joy, for us and our communities?
Louise
Finding pleasure as resistance and resistance in pleasure, first for me there is this idea of the guerrilla filmmaking or the action of filming when you’re not supposed to or when someone told you not to, which is the case for a lot of women and queer filmmakers in the world right now. For example, in Lebanon, which is a cinema scene that I know very well, most of the lesbian stories that I’ve seen were shot by students in very short formats with “no production value” as the west would say – meaning with no money, because of the censorship that happens on an institutional level, but also within the family and within the private sphere. I would think that filming whatever, but also filming pleasure and pleasure within lesbian storytelling is an act of resistance in itself. A lot of times, just taking a camera and getting someone to edit and someone to act is extremely hard and requires a lot of political stance.
Lindiwe
I have a rape support group. I’m trying to assist women to reintegrate themselves from a sexual perspective: wanting to be intimate again, wanting to not let their past traumas influence so much how they move forward. It’s not an easy thing, but it’s individual. So I always start with understanding your body. I feel the more you understand and love and are proud of it, the more you are able to allow someone else into that space. I call it sensuality training, where I get them to start seeing themselves as not sexual objects, but as objects of pleasure and desire that can be interchangeable. So you’re worthy of receiving as well as giving. But that’s not only from a psychological point of view; it is physical. When you get out of the shower, you get out of the bath, and you’re putting lotion on your body, look at every part of your body, feel every part of your body, know when there are changes, know your body so well that should you get a new pimple on your knee, you are so aware of it because just a few hours ago it wasn’t there. So things like that where I kind of get people to love themselves from within, so they feel they are worthy of being loved in a safe space, is how I gear them towards claiming their sexuality and their desire.
Manal
You know we began to see women coming from Nablus, from Jerusalem, from Ramallah, even from occupied 48, who have to drive for 3-4 hours just to come to join the protests. After that we tried to go to other places, talk with women, tell them that they don’t have to be shy, that they should just believe in themselves and that there is nothing wrong in what we are doing. You can protect yourself, so where is the wrong in participating or in joining? Once I asked some women, “why are you joining?” And they said, “if the Tamimi women can do it, we can do it also.” To be honest I was very happy to hear this because we were like a model for other women. If I have to stand for my rights, it should be all my rights, not just one or two. We can’t divide rights.
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مريم مكيوي مخرجة أفلام ومصورة من الإسكندرية تعيش وتعمل في برلين.
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مستشفى
ترجمة مارينا سمير
«الآن قد يكون وقتًا مناسبًا لإعادة التفكير في الشكل الذي يمكن للثورة أن تتّخذه. ربما لن تبدو كمسيرةٍ من الأجساد الغاضبة والقادرة في الشوارع. ربما ستبدو وكأنّ العالم واقفٌ في ثباتٍ لأن جميع الأجساد الموجودة فيه منهَكة – حيثُ أنّه يجب إعطاء الأولوية للرعاية قبل فوات الأوان». - جوانا هيدفا
المستشفيات مؤسسات، ومواقع حيّة للرأسمالية، وما يحدث عندما يكون من المفترض أن يستريح شخصٌ ما ليس إلّا نموذجاً مصغّراً من النظام الأكبر. تَعمَد المؤسسات إلى فصلنا عن أنظمة رعايتنا – نَجِد أنفسنا معزولين في بُنى تراتبية راسخة، وغالبًا ما نشعر وكأنّ الرعاية هي شيء يُفعَل بنا بدلاً من أن تكون شيئًا يُعطى ويؤخَذ كجزء من محادثة. الرعاية المؤسسية معزولة بسبب اندماجها في الطلب الرأسمالي: شخص واحد يعالج رِجلك ورِجلك فقط، شخص آخر يعالج ضغط الدم وهكذا.
المستشفيات مؤسسات، ومواقع حيّة للرأسمالية، وما يحدث عندما يكون من المفترض أن يستريح شخصٌ ما ليس إلّا نموذجاً مصغّراً من النظام الأكبر. تَعمَد المؤسسات إلى فصلنا عن أنظمة رعايتنا – نَجِد أنفسنا معزولين في بُنى تراتبية راسخة، وغالبًا ما نشعر وكأنّ الرعاية هي شيء يُفعَل بنا بدلاً من أن تكون شيئًا يُعطى ويؤخَذ كجزء من محادثة. الرعاية المؤسسية معزولة بسبب اندماجها في الطلب الرأسمالي: شخص واحد يعالج رِجلك ورِجلك فقط، شخص آخر يعالج ضغط الدم وهكذا.
اضطرّت المصوّرة مريم مكيوي لإجراء عملية جراحية الشهر الماضي، ووثّقت هذا المسار. صورها للبيئات المعقّمة بألوانها الباهتة – أضواء نيون بيضاء وصفوف تلو صفوف من التكوينات المتكرّرة – تعكس مكانًا استُنزفت منه الحياة والحركة. كانت هذه إحدى الطرق التي حافظت بها مريم على بقاء روحها. لقد كان أحد أشكال الاحتجاج من داخل حدود مؤسسةٍ كان عليها التعامل معها.
تُشكّل الصور وصفًا لشيءٍ واهنٍ بشدّة، فمشاهدة شخصٍ ما وهو يعايش انهيار جسده هو دائمًا تذكير جليل بهشاشتنا. إنه أيضًا تذكير بهشاشة أنظمة الرعاية هذه، والتي قد تُمنَع عنّا لأسباب متعدّدة – بدايةً من عدم امتلاك الأموال وصولًا إلى عدم التواجد في جسدٍ يُعتبَر ذا قيمة كافية، فربما يكون أنثويًا أكثر مما ينبغي أو كويريًا أكثر مما ينبغي أو ملوَّنًا أكثر مما ينبغي.
الرعاية الانفرادية والمجرّدة من جوهرها والتي قد تُسلَب منّا في أي لحظة لا تساعدنا على الازدهار. وهي مختلفة تمامًا عن الطريقة التي يسلكها البشر عند رعاية بعضهم البعض. كم سيبدو عالمنا مختلفًا إذا التزمنا بتفكيك الهياكل الرأسمالية الحالية حول صحّتنا؟ كيف سيبدو إذا أعَدنا تخيُّلَه بشكل جذريّ؟
Snippet - COP30 - Links
$2.7 trillion for the military. $300 billion for climate justice. We're here to flip the script.
AWID’s Tribute is an art exhibition honouring feminists, women’s rights and social justice activists from around the world who are no longer with us.
In 2020, we are taking a turn
This year’s tribute tells stories and shares narratives about those who co-created feminist realities, have offered visions of alternatives to systems and actors that oppress us, and have proposed new ways of organising, mobilising, fighting, working, living, and learning.
49 new portraits of feminists and Women Human Rights Defenders (WHRDs) are added to the gallery. While many of those we honour have passed away due to old age or illness, too many have been killed as a result of their work and who they are.
This increasing violence (by states, corporations, organized crime, unknown gunmen...) is not only aimed at individual activists but at our joint work and feminist realities.
The stories of activists we honour keep their legacy alive and carry their inspiration forward into our movements’ future work.
The portraits of the 2020 edition are designed by award winning illustrator and animator, Louisa Bertman.
AWID would like to thank the families and organizations who shared their personal stories and contributed to this memorial. We join them in continuing the remarkable work of these activists and WHRDs and forging efforts to ensure justice is achieved in cases that remain in impunity.
“They tried to bury us. They didn’t know we were seeds.” - Mexican Proverb
The Tribute was first launched in 2012
It took shape with a physical exhibit of portraits and biographies of feminists and activists who passed away at AWID’s 12th International Forum, in Turkey. It now lives as an online gallery, updated every year.
Rama es una joven feminista, investigadora y escritora senegalesa. Tenía poco más de 20 años cuando escribió su primera novela, La dernière lettre, publicada por Présence Africaine en 2008.Un año después fue una de las 25 jóvenes africanas con visión, valentía y compromiso extraordinarios para liderar cambios en sus comunidades que recibieron la beca MILEAD, otorgada por la Moremi Initiative for Women's Leadership in Africa [Iniciativa Moremi para el Liderazgo de las Mujeres en África].
"Convertirse en quien una es, plenamente y sin pedir disculpas, es un logro difícil pero el más importante de todos. He aprendido, en forma metódica, a desaprender y reaprender, a deconstruir y reconstruir todo lo que me han enseñado acerca de cómo se deben mover las mujeres en la sociedad..."
Tras recibir la beca en Gobernanza y Desarrollo 2015 de la Ibrahim Foundation, Rama está a punto de iniciar sus estudios de doctorado en la Escuela de Estudios Orientales y Africanos (SOAS) de la Universidad de Londres. Ya tiene una Licenciatura en Desarrollo Internacional con especialización en Desarrollo Económico Africano y Género, así como una Maestría en Cooperación Internacional y Desarrollo por el Instituto de Estudios Políticos de Burdeos, Francia.
"A fin de llegar a ser quien verdaderamente soy, he tenido que aprender que cuidarme y alcanzar mis sueños era más importante que las etiquetas sociales que ni siquiera me definen..."
En 2013, Rama contribuyó a un libro colectivo de la Network of Young African Researchers on Democracy and Development in Africa [Red de Jóvenes Investigadoras/es Africanas/os sobre la Democracia y el Desarrollo en África] y también ha sido columnista de Nouvel Horizon Senegal.
"Para mí, ser feminista es aceptar que tendré que cuestionar todo lo socialmente establecido para definir quién debo ser y qué ‘debo querer’, porque ‘deber’ y ‘querer’ son términos antitéticos. Cuando se libera del ‘deber’ o del ‘no deber’, el ‘querer’ se vuelve poderoso. Sé tú misma. Y punto."
Obumu Habwekigendererwa [United for the cause] continues the legacy of Koogere
The story of Koogere
The Kitara Empire once encompassed present-day parts of eastern Uganda, some areas of northern Tanzania and of eastern Democratic Republic of Congo. In this Empire, it is told, a woman named Koogere reigned over the Busongara Chiefdom. It is said that she was an exceptionally wise chief, great leader and entrepreneur who, among other achievements, brought socio-economic prosperity to her communities. The Koogere oral tradition tells the story of Koogere’s leadership, carrying her legacy through generations of the community.
“Busongora bwa Koogere mbere ikamwa niboroga, Amagita gatera amaato, amata geser’ente” (Busongora of Koogere the land of plenty of cattle and abundant dairy products).
Koogere’s Legacy Today
The Koogere Women Empowerment Programme of Engabu Za Tooro (Tooro Youth Platform for Action, EZT) is built around and inspired by this oral tradition. EZT, an AWID member since early 2015, is an indigenous Ugandan organisation founded in 1999 and working with communities in western Uganda. EZT works to strengthen the capacity of these communities, using cultural practices to promote gender equality, the rights of indigenous women and community self-reliance. Their main activities aim to promote grassroots women’s mobilization and leadership; encourage women’s production and marketing in agro-business and cultural enterprises; end domestic violence and promote women’s economic rights.
Obumu Habwekigendererwa [Unidad con propósito] continúa el legado de Koogere
La historia de Koogere
El imperio Kitara alguna vez se extendió por el oriente de Uganda, el norte de Tanzanía y el oriente de la República Democrática del Congo. Se cuenta que en este imperio una mujer llamada Koogere reinó sobre toda la zona de influencia de los jefes Busongara. Se dice que ella fue una jefa excepcional por su sabiduría, una gran líder y emprendedora que, entre otros logros, llevó la prosperidad económica a sus comunidades. La tradición oral Koogere cuenta la historia de su liderazgo, transmitiendo su legado de una generación a otra en esta comunidad.
“Busongora bwa Koogere mbere ikamwa niboroga, Amagita gatera amaato, amata geser’ente” [Busongara de Koogere, la tierra del ganado y los productos lácteos abundantes]
El legado de Koogere en la actualidad
El Koogere Women Empowerment Programme [Programa de empoderamiento para mujeres Koogere] de la Engabu Za Tooro [Plataforma de Acción Juvenil Tooro, EZT] se inspira en esta tradición oral y se desarrolla a partir de ella. EZT, afiliada a AWID desde comienzos de 2015, es una organización indígena ugandesa creada en 1999 que trabaja con comunidades de Uganda occidental. EZT se dedica a fortalecer las capacidades de estas comunidades, utilizando prácticas culturales para promover la igualdad de género, los derechos de las mujeres indígenas y la autosuficiencia comunitaria. Sus principales actividades están destinadas a promover la movilización y el liderazgo de las mujeres de sectores populares; alentar la producción y comercialización agrícola y cultural por parte de las mujeres, poner fin a la violencia doméstica y promover los derechos económicos de las mujeres.
Obumu Habwekigendererwa (Uni-e-s pour une cause) poursuit l’héritage de Koogere
L’histoire de Koogere
L’Empire Kitara englobait autrefois certaines parties actuelles de l’est de l’Ouganda, certaines régions du nord de la Tanzanie et de l’est de la République démocratique du Congo. Dans cet empire, on raconte qu’une femme nommée Koogere régna sur la chefferie de Busongara. On dit que c’était une cheffe d’une exceptionnelle sagesse, une dirigeante et entrepreneure de talent qui, entre autres réussites, a rendu ses communautés prospères socialement et économiquement. La tradition orale Koogere raconte l’histoire du leadership de Koogere, tout en transmettant son héritage à la communauté, de génération en génération.
« Busongora bwa Koogere mbere ikamwa niboroga, Amagita gatera amaato, amata geser’ente » (Busongora de Koogere, la terre riche en bétail et en produits laitiers)
L’héritage actuel de Koogere
Le Koogere Women Empowerment Programme (Programme d’autonomisation des femmes Koogere, site en anglais) de Engabu Za Tooro - la Plateforme des jeunes de Tooro pour l’action, EZT- a été mis en place à partir de cette tradition orale et s’en inspire. Membre de l’AWID depuis le début de 2015, EZT est une organisation autochtone d’Ouganda fondée en 1999 qui travaille auprès de communautés dans la partie occidentale du pays. EZT a pour objectif de renforcer les capacités de ces communautés faisant usage de pratiques culturelles pour promouvoir l’égalité de genre, les droits des femmes autochtones et l’autonomie communautaire. Leurs principales activités visent à promouvoir la mobilisation des femmes des communautés locales et le renforcement de leur leadership, à les encourager à produire et distribuer ces produits dans les secteurs du commerce agroalimentaire et des entreprises culturelles. L’organisation oeuvre également pour mettre un terme à la violence intrafamiliale et pour la promotion des droits économiques des femmes.
A Caroline Nazareno-Gabis (afiliada de AWID), a la que llaman Ceri Naz, se la conoce como ‘poeta de la paz y la amistad’. Nacida en Pangsinan, Filipinas, actualmente vive y trabaja en Vancouver, Canadá. Ha recibido múltiples distinciones como poeta, editora, periodista, conferenciante, lingüista, educadora y defensora de la paz y los derechos de las mujeres.
Caroline ha ganado numerosos premios por su obra, incluyendo el premio de literatura Frang Bardhi 2014 de Albania, el premio sair-gazeteci (Premio Periodista Poeta- Poet Journalist Award ) durante la 34º edición del Festival Internacional KIBATEK de Literatura y Arte de Turquía y el Premio Mundial de Poesía y Empoderamiento (World Poetry Empowered Poet ) 2013 de Canadá. También fue poeta destacada en el festival nacional de libros y revistas de Vancouver, Word On The Street (La Palabra en la Calle), y fue elegida como Directora Internacional de Poesía Mundial para Filipinas por la organización World Poetry Canada and International.
“soy la mejor yo
porque he aceptado todo
mi yo real...”
La poesía de Caroline, sus historias para niñas y niños y algunos de sus artículos destacados se han publicado en varias antologías de libros y revistas de todo el mundo. Actualmente escribe para Philippine Canadian Inquirer, la Songsoptok International Online Magazine (revista en línea) y la revista electrónica Our Poetry Archive.
Además de su obra literaria, Caroline ha creado el “Premio de Literatura Ceri Naz”, a través del cual brinda apoyo a estudiantes de periodismo de la Universidad Estatal de Pangasinan y a escritoras y escritores, poetas y artistas emergentes de Filipinas.
“…soy
frágil
pero de mis pedazos
hice
un torrente de fuerza y respiración…”
Souvent décrite comme une « poète de la paix et de l’amitié », Caroline Nazareno-Gabis (membre de l'AWID), plus connue sous le pseudonyme de Ceri Naz, est originaire de la province de Pangasinan, aux Philippines. Poète primée, éditrice, journaliste, conférencière, linguiste, éducatrice et militante pour la paix et les droits des femmes, Caroline vit et travaille actuellement à Vancouver, au Canada.
L’œuvre de Caroline a été récompensée par de nombreux prix internationaux. Elle a notamment remporté le prix littéraire Frang Bardhi 2014 en Albanie, le prix Sair-gazeteci (qui récompense les poètes-journalistes) du 34ème KIBATEK – le Festival international de littérature et d’arts qui a lieu en Turquie – et le prix World Poetry Empowered Poet 2013 au Canada. Elle a été invitée à participer au festival Word On The Street de Vancouver (site en anglais) et nommée directrice du World Poetry International pour les Philippines par la fondation World Poetry Canada and International.
« …je suis mon meilleur moi
car j’ai accepté mon moi entier,
mon moi véritable… »
La poésie de Caroline, ses histoires pour enfants et ses reportages ont été publiés dans différents livres, anthologies et magazines, et ce dans le monde entier. Elle collabore actuellement avec le Philippine Canadian Inquirer (site en anglais), le Songsoptok International Online Magazine et le journal en ligne Our Poetry Archive.
Outre son œuvre littéraire, Caroline a créé le prix littéraire Ceri Naz pour soutenir les étudiant-e-s en journalisme de l’Université d’État du Pangasinan ainsi que les écrivain-e-s, poètes et artistes prometteur-se-s des Philippines.
« …je suis fragile mais j’ai reconstitué les fragments brisés en des fleuves larges et puissants… »
Often known as a ‘poet of peace and friendship’, Caroline Nazareno-Gabis (an AWID member), a.k.a. Ceri Naz is a native of Pangsinan, Philippines, currently living and working in Vancouver, Canada. She is an award-winning poet, editor, journalist, public speaker, linguist, educator, peace and women’s rights advocate.
Caroline has won numerous international prizes for her work, including the The Frang Bardhi Literary Prize 2014 in Albania, the sair-gazeteci (Poet-Journalist Award) during the 34th KIBATEK International Festival of Literature and Arts in Turkey and the World Poetry Empowered Poet 2013 in Canada. She was also a featured poet at Vancouver Word On The Street and chosen as the World Poetry International Director for the Philippines by the World Poetry Canada and International.
“i am the greatest me
for i have accepted the whole,
the real me…”
Caroline’s poetry, children’s and feature stories have been published in various book anthologies and magazines worldwide. Currently, she writes for the Philippine Canadian Inquirer, the Songsoptok International Online Magazine and the e-journal Our Poetry Archive.
Beyond her literary work, Caroline has created the The Ceri Naz Literary Award through which she supports journalism students at the Pangasinan State University as well as emerging writers, poets and artists in the Philippines.
“…i am
fragile
but had put up
the broken pieces
to streams of strength and breadth…”
Ending violence against women, "it's still worth a fight!"
Lina Abirafeh (an AWID individual member) is Lebanese and Palestinian, born into conflict, displacement and gender issues. She is committed to ending violence against women and says “we all should be! It is the most pervasive human rights violation in the world, and it has endured far too long. Even if we don’t see the results in our lifetime, it’s still worth a fight!”
Lina received a PhD from the London School of Economics Department of International Development, her research being published in a book entitled Gender and International Aid in Afghanistan: The Politics and Effects of Intervention. For nearly 20 years she has been dedicated to working on issues pertaining to violence against women, specifically in emergency contexts and in over 20 countries including Afghanistan, Papua New Guinea, Democratic Republic of Congo, Haiti, Mali, Nepal, and Central African Republic. Lina has also worked with numerous UN agencies, the World Bank, as well as with diverse international and national non-governmental organizations. In September 2015, she joined the Lebanese American University (LAU) in Beirut as Director of the Institute for Women’s Studies (IWSAW) in the Arab World.
“We are all affected. So we are all responsible.” - Lina Abirafeh
Lina is also looking forward to connecting with other members!
Watch Lina’s talk for TEDx on her work regarding sexual violence in humanitarian emergencies.
Para terminar con la violencia contra las mujeres, ¡aún vale la pena luchar!
Lina Abirafeh (afiliada individual de AWID) es libanesa y palestina. Nació en medio del conflicto, el desplazamiento y la discriminación de género y está comprometida con la eliminación de la violencia contra las mujeres. «¡Todas las personas deberíamos tener el mismo compromiso!», afirma. «Es la violación a los derechos humanos más generalizada en el mundo y persiste desde hace mucho tiempo. Aun cuando no veremos los resultados durante nuestra vida, vale la pena luchar».
Lina obtuvo un título de doctorado del departamento de desarrollo internacional de London School of Economics, para el que presentó una investigación publicada (en inglés) en el libro Gender and International Aid in Afghanistan: The Politics and Effects of Intervention[Género y ayuda internacional en Afganistán: La política y los efectos de la intervención]. Durante casi 20 años Lina se ha dedicado a trabajar por los temas referidos a la violencia contra las mujeres, especialmente a la ejercida en contextos de emergencia y en más de 20 países, incluidos Afganistán, Papua Nueva Guinea, República Democrática del Congo, Haití, Malí, Nepal y República Centroafricana. Ha trabajado también con numerosos organismos de las Naciones Unidas, el Banco Mundial y diversas organizaciones no gubernamentales nacionales e internacionales. En septiembre se incorporará a la Lebanese American University [universidad libanesa americana] de Beirut como directora del instituto para los estudios de la mujer en el mundo árabe (IWSAW).
«Todas las personas nos vemos afectadas; por eso todas somos responsables.» - Lina Abirafeh
Lina también anhela conectarse con otras/os afiliadas/os de AWID.
Mira la charla de Lina (en inglés) por TEDx sobre su labor para evitar la violencia sexual en escenarios de emergencia humanitaria.
Mettre fin aux violences faites aux femmes, « une bataille qui vaut toujours la peine d’être menée ! »
D’origine libanaise et palestinienne, Lina Abirafeh (membre individuelle de l'AWID) est née dans un contexte de conflits, de déplacements de population et de problématiques de genre. Déterminée à mettre un terme à la violence à l’égard des femmes, elle dit : « Nous devrions tou-te-s lutter fermement contre la violence faite aux femmes ! C’est la violation des droits humains la plus répandue dans le monde, et elle dure depuis bien trop longtemps. C’est une bataille qui vaut la peine d’être menée, même si nous n’en voyons pas les résultats de notre vivant ! »
Lina, qui a obtenu un doctorat du Département pour le développement international de la London School of Economics, voit sa thèse actuellement publiée dans un ouvrage (en anglais) intitulé Gender and International Aid in Afghanistan: The Politics and Effects of Intervention (Genre et aide internationale en Afghanistan : les politiques et effets de l’intervention). Pendant près de 20 ans, elle s’est attachée à travailler sur des questions de violence contre les femmes, particulièrement dans des situations d’urgence et dans plus de 20 pays dont l’Afghanistan, la Papouasie-Nouvelle-Guinée, la République démocratique du Congo, Haïti, le Mali, le Népal et la République centrafricaine. Lina a également collaboré avec de nombreuses agences de l’ONU, avec la Banque Mondiale, et avec différentes organisations non-gouvernementales internationales et nationales. Elle intègrera au mois de septembre la Lebanese American University (LAU) à Beyrouth en tant que Directrice de l’Institute for Women’s Studies (IWSAW) in the Arab World (institut d’études des femmes dans le monde arabe).
« Nous sommes tou-te-s concerné-e-s. Nous sommes donc tou-te-s responsables. » - Lina Abirafeh
Lina se fait aussi une joie de communiquer avec d’autres membres !
Vous pouvez voir la présentation (en anglais) TEDx de Lina sur son travail concernant la violence sexuelle au cours de crises humanitaires.
Please take a look at the existing propositions for inspiration before submitting your own idea. Someone might already be thinking along the same lines! Send your proposition to contribute@awid.org.
We will review and include new propositions on this webpage as they come.
