Anit-Racism Movement (ARM) / Flickr (CC BY-NC-ND 2.0)
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.
Around the world, feminist, women’s rights, and allied movements are confronting power and reimagining a politics of liberation. The contributions that fuel this work come in many forms, from financial and political resources to daily acts of resistance and survival.
AWID’s Resourcing Feminist Movements (RFM) Initiative shines a light on the current funding ecosystem, which range from self-generated models of resourcing to more formal funding streams.
Through our research and analysis, we examine how funding practices can better serve our movements. We critically explore the contradictions in “funding” social transformation, especially in the face of increasing political repression, anti-rights agendas, and rising corporate power. Above all, we build collective strategies that support thriving, robust, and resilient movements.
Our Actions
Recognizing the richness of our movements and responding to the current moment, we:
Create and amplify alternatives: We amplify funding practices that center activists’ own priorities and engage a diverse range of funders and activists in crafting new, dynamic models for resourcing feminist movements, particularly in the context of closing civil society space.
Build knowledge: We explore, exchange, and strengthen knowledge about how movements are attracting, organizing, and using the resources they need to accomplish meaningful change.
Advocate: We work in partnerships, such as the Count Me In! Consortium, to influence funding agendas and open space for feminist movements to be in direct dialogue to shift power and money.
Your comprehensive research product is now all organized and edited. You now want to ensure your findings are visually accessible and appealing to facilitate the dissemination.
Consider developing smaller products along with your long report.
As mentioned in the “Synthesize your research findings,” AWID often pulls smaller products from the lengthy research report. This allows for wider and easier distribution specialized for key audiences.
Always keep your targeted population in mind: who will read your report?
Examples of smaller products distilled from a larger report:
Infographics
Online gallery
An animation presenting your arguments
1. Think as your audience thinks
People are bombarded with information constantly. Your product will have to be visually compelling to maintain the interest of your audience. Again, having an idea of what you hope to accomplish and who you hope to reach, will allow the designer to create targeted products.
A lengthy written PDF report may seem the only way to present your research, but it could appear overwhelming to most people – especially online.
If you want to share your product with an online community, think about creating memes and infographics to use on social media, blogs and web platforms.
When deciding whether to create smaller products, consider dividing your results into several smaller products that you could share with targeted populations or at different times of the year to reactivate the interest on your product.
2. Work with a professional designer
If you have limited time and a little bit of budget, we recommend hiring a design firm.
It can be tempting for economic reasons to use in-house staff to package your report. However, a professional graphic designer can make a huge difference on how your final product looks and thus on how much impact it will have!
The designer (in-house or hired) must be able to:
Show you samples of their previous work that is similar to what you seek.
Provide you clear advice on how to present your research based on the content you provide and the audience you are targeting.
Suggest additional or different pieces to package your product.
What the designer will need from you:
A general idea on what you would like the lengthy report to highlight through visuals and graphics (what are the most important pieces of information, the key findings, for example) and some ideas on the types of smaller products you want to create (brochure, an infographic, a series of viral memes, for example). If possible, show the designer examples of similar documents developed by other organizations.
Your budget and time frame.
Your organization’s visual guidelines if you have any (logo, official colours, fonts, etc...).
A few photos copyright free or access to your photo bank if you have one.
Key visuals that need to be included – graphs, tables and other visual graphics drawn from your research.
The designer is a graphic expert. S/he is not necessarily familiar with women’s issues and does not know the results of your research, especially if you hire an external firm.
Communicate what elements of this report is important to you and who is your target. The designer will propose a way to highlight these elements and make the whole piece appealing to your users.
3. Make sure it's consistent
While creating a set of smaller information products, do not forget to link them all together:
A shorter version of the report that focuses only on your final results and recommendations should present a link to the final, full report
A visually compelling infographic that sends a message on the state of funding for your particular research can link to your website and the related section of the full report. It should be associated with a call to share on social media.
A short animation video that uses the data, findings and recommendations from your report should link back to your organization website and social media
A series of viral memes that can be distributed online should link back to your report, infographic, shorter report, etc.
It is also important to keep the research staff involved, so they can ensure any offshoot products stay true to the actual findings of the research.
After the design and packaging of the final research report is complete, if any of the wording of content was changed, be sure to re-send to translators.
If you create smaller products, once designed and packaged, you will also need to get the copy translated for those pieces. The translations should be clear enough so the designer can apply to the design, even if she/he does not speak the language.
Once translated, make sure to have your design proofread by a native speaker before sharing it!
Member states and women's rights advocates and organisations are gathering at the United Nations Headquarters in New York from 13 - 24 March for the 61st Commission on the Status of Women to address ‘women’s economic empowerment’ in the context of Sustainable Development Goal 5.
Whilst AWID is looking forward to physically meeting those of you who will be in New York, we want to engage with all those who cannot attend CSW, and as much as possible, amplify your voices in relevant spaces.
Continue reading to find out how to engage with AWID around CSW, whether you are attending physically or not.
Participate in an artistic takeover!
We are thrilled that AWID member Nayani Thiyagarajah is attending CSW this year and will take over the AWID Instagram. She will be available onsite to connect with other members for a possible feature on our Instagram. She will also explore possibilities of including some AWID members in a short film on the theme, ‘The personal is political’, a story of Nayani’s participation in this year’s CSW.
Nayani Thiyagarajah
Who is Nayani?
Nayani Thiyagarajah is a director, producer, and writer, dedicated to stories for the screen. A daughter of the Tamil diaspora, she calls Toronto home. For over 10 years, Nayani has worked in the arts and cultural industries. Her first independent feature documentary Shadeism: Digging Deeper (2015) had its World Premiere at the 2015 Zanzibar International Film Festival, where it won a Special Jury Prize. Nayani recently launched [RE]FRAME, with her producing partner Camaro West, a production company based out of Atlanta and Toronto, focused on re-framing the narratives around Black, Indigenous, and other people of colour through storytelling on screen.
On a more serious note, it should be noted that Nayani has a strange laugh, she's quite awkward, and her head is always in the clouds. She feels blessed beyond belief to create stories for the screen and play make believe for a living. Above all else, she believes in love.
Interested in meeting Nayani and being considered for inclusion in the film?
Send an email to membership@awid.org with the subject line “CSW Artistic Takeover”
By 13 March 2017
Please include your full name and country information.
Can't attend? Voice it!
If you are not able to attend CSW61 because of a travel ban, either due to the one imposed by the Trump administration or one you are facing from your own government, please share your story with us.
Send us messages you want heard in the United Nations spaces concerning funding, the impact of the reinstatement of the Global Gag Rule, and the need to push back against all types of religious fundamentalisms. You can send these in the following formats:
Video: no longer than two minutes and sent through a file sharing folder (for example dropbox, google drive)
Audio: no longer than two minutes and sent through a file sharing folder (for example dropbox, google drive)
Image: you can share a photo or a poster of your message
Text: no longer than 200 words and sent in the body of an email or in a word document
AWID members tell us that connecting with other members at CSW is valuable. In such a huge advocacy space, it is useful to connect with others including activists working on similar issues, or originating from the same country or region. Recognising the importance of connecting for movement building, we invite you to:
Interested in connecting with other members @CSW61?
If you are attending the CSW, we’d love to see what’s going on through your eyes!
Show us by capturing a moment you find speaks to the energy in the CSW space, be it on or off site. We hope to publish some of your ‘images’ on our social media channels and share on awid.org.
You can send us:
colour and/ or black and white photographs with a title (if you wish) and
a caption (no longer than 100 words) about the story your image tells.
Please also include:
your full name and country of origin and
let us know if we can publish the information you shared (in part or in full).
Keeping an eye on anti-rights actor at the Human Rights Council
Anti-rights mobilization at the United Nations constitutes a response to the significant feminist and progressive organizing. It involves a constant threat for women's rights, especially when it comes to sexual and reproductive rights and an open door to racism, xenophobia and all kinds of discrimination.
Get to know all their tactics and discourses worldwide.
Main resolutions and organizations to follow on the 38th session
We’re looking at an attack on the human rights system, and all of these fundamentalisms are coming together to try to weaken the fabric of multilateralism, and that’s happening in large part at the expense of marginalized groups of people. It’s happening at the expense of women, and it’s happening through tactics that are often about gender and sexuality.
Cynthia Rothschild
Independent human rights expert, OURs member
We’ve experienced a lot of pushback from different states, from different civil society actors, from private corporations and large donors who are funding the activities of these anti-rights actors.
Meghan Doherty
Director of Global Policy and Advocacy with Action Canada
When you do a search for “Female Genital Mutilation” or “FGM” online, an image of four line-drawings of the female anatomy pop up next to its Wikipedia entry. It illustrates four types of violence. The first being a partial cut to the clitoris. The second, a more invasive cut with the entire clitoris removed. The third is progressively worse with the removal of the clitoris, labia majora and minora. And the fourth box illustrates a series of hash marks to symbolize stitches over the vaginal opening to allow only for urination and menstruation.
As a survivor of FGM, most questions about my story fixate on the physical. The first question I usually get asked is what type of FGM I underwent. When I told a journalist once that I went through Type 1, she said “oh, that’s not so bad. It’s not like type three which is far worse.” She was technically right. I had the least invasive form. And for many years, I gaslighted myself into feeling a sense of relief that I was one of the lucky ones. I comforted myself noting that I could have been less fortunate with all of my genitalia gouged out, not just the clitoral tip. Or worse I could have been one of the ones who didn’t survive at all. Like Nada Hassan Abdel-Maqsoud, a twelve year old, who bled to death on a doctor’s operating table earlier this year in Upper Egypt. Nada is a reminder to me that for every data point -- 200 million women and girls who live with the consequences of FGM globally -- there is a story. Nada will never be able to tell hers.
As much as I find the label “survivor” suffocating at times -- I also realize there is privilege embedded in the word. By surviving, you are alive. You have the ability to tell your story, process the trauma, activate others in your community and gain insights and a new language and lens to see yourself through.
The act of storytelling can be cathartic and liberating, but it can also shatter the storyteller in the process.
Without integrating the psychosocial support of trained clinicians into storytelling and healing retreats, well-intentioned interventions can result in more trauma. This is all the more important as FGM survivors navigate the double pandemic of their own PTSD from childhood trauma, and the indefinite COVID-19 global shutdown.
In many anti-FGM advocacy spaces, I have seen this insatiable hunger to unearth stories -- whatever the cost to the storyteller. The stories help activate funding and serve as a data point
for measuring impact.
Survivor stories then become commodities fueling a storytelling industrial complex. Storytellers, if not provided proper mental health support in the process, can become collateral damage.
My motivation in writing this piece is to flip the script on how we view FGM survivors, prioritizing the storyteller over the story itself.
FGM survivors are more than the four boxes describing how the pieces of our anatomy were cut, pricked, carved, or gouged out. In this essay, I’ll break down the anatomy of an FGM survivor’s story into four parts: stories that break, stories that remake, stories that heal, and stories that reveal.
Type 1: Stories that break
I was sitting in the heart of Appalachia with a group of FGM survivors, meeting many for the first time. As they shared their traumas, I realized we all belonged in some way or another to the same unenviable club. A white Christian survivor from Kentucky - who I don’t think I would have ever met if we didn’t have FGM survivorship connecting us - told the contours of her story.
There were so many parallels. We were both cut at seven. She was bribed with cake after her cut. I was bribed with a jumbo-sized Toblerone chocolate bar when mine was over. Absorbing her trauma overwhelmed me. And I imagine when I shared my story, others in the circle may also have been silently unraveling. We didn’t have a clinician or mental health professional in a facilitation role and that absence was felt. The first night, I was sharing a room with six other survivors and tried hard to keep the sounds of my own tears muffled. By the last day, I reached breaking point. Before leaving for the airport, my stomach contracted and I convulsively vomited. I felt like I was purging not only my pain, but the pain of the others I’d absorbed that week. We all dutifully produced our stories into 90 second social media friendly soundbites with narration and photos. But at what cost?
Type 2: Stories that remake
On February 6, 2016, the Guardian published my story as a survivor. The second it was released, I was remade. My identity transformed from nondescript, relatively invisible mid-level Foreign Service Officer to FGM survivor under a public microscope. That same day, then-U.S. Ambassador to the United Nations Samantha Power tweeted my story with the introduction: “I was seven years old” before linking to the article. The tweet symbolized a moment for me where my personal and professional worlds collided. Since then, they have been forever intertwined.
Even though I spent ten years of my career as a diplomat focused on other issues -- I lived in Cairo during the early days of the Arab Spring in 2011 and served in Baghdad and Erbil when the Syrian revolution turned from an uprising to civil war -- all of those past experiences that began to make mefeel erased. When I spoke on panels, my identity would be reduced to “survivor.” Like other survivors, I have worked hard to rewrite the script on how others see me.
I reinsert pieces of my other identities when speaking to underscore to the broader public that while yes, I am a survivor of childhood trauma and while my FGM story may have remade a part of my identity, it doesn’t define me.
Type 3: Stories that heal
With the guidance of a mental health expert, I have spent the last few months doing a deep dive into my FGM survivor story. I have told and retold my story over dozens of times in public venues. My goal is to break the culture of silence and inspire action. At this point, the telling of my story has almost become mechanized, as though I am reciting a verse from the Quran I memorized as a kid. I would always start with: “I was sitting an anthropology class when a fellow student described her research project on Female Genital Mutilation. And that’s when I had the memory jolt. A memory I had suppressed since childhood came flooding to the foreground.” I go into the details of what happened in granular detail -- the color of the floor, the feelings of confusion and betrayal in the hazy aftermath. And then I go on to talk about the afternoon I confronted my mother about the summer she and my father shipped my brother and off to India to stay with my aunt. The summer it happened. I later found out my aunt cut me without my parents’ consent. In my years of telling and retelling this story, I would have moments I felt nothing, moments I would break down, and moments of relief. It was a mixed bag, often contradictory emotions happening all at once.
When I began to take apart the story, I discovered the core moment where I felt most gutted. It wasn’t the cut itself. It was the aftermath. I remember sitting in a corner alone, feeling confused and ashamed. When I looked at my aunt on the other side of the room, she was whispering to my cousin and they both pointed and laughed at me. Unearthing the moment of shame - the laughter - has haunted me since childhood. The piece that was carved out of me is called “haram ki boti” which translates into sinful flesh. Over time, the physical scar healed. But for many FGM survivors, the psychological wounds remain
Type 4: Stories that reveal
Last year, I decided to take a sabbatical from the Foreign Service. I was burning out on both ends -- I had just completed a really tough assignment in Pakistan and was also doing anti-FGM
advocacy in my personal capacity. When I came home, an acquaintance from graduate school approached me to capture my story on film. As part of the process, she would send a camera
crew to shadow me. Sometimes while giving speeches, other times filming mundane interactions with friends and family. On a visit to my home in Texas, I’ll never forget the moment where my mom told me her story of survival. As part of the film, we went on a roadtrip to Austin to visit the university where I first had the memory jolt. My mom is patiently waiting for the cameraman to set up his tripod. My father is standing next to her.
In the end, we eventually had the conversation I never had the courage to have with either of my parents face to face. Looking them both in the eye, retelling my story with a camera as witness, we discussed how FGM ripped our family apart (specifically my dad’s relationship with his sister). For the first time, I heard my mom talking about her own experience and the feeling of betrayal when she discovered my aunt cut me without her consent. When I later told her that FGM was actually indigenous to the U.S. and Europe and that it was a cure for hysteria (prescribed by doctors) up until the 19th century, my mother exclaimed “that’s crazy to me, this was a cure for hysteria. I’m going to educate other doctors to speak out.” And in that moment, my mother, a survivor who had never shared her story before, became an activist.
My story, intertwined with her story, revealed a tightly woven fabric of resistance. With our voices, we were able to break the cycle of intergenerational structural violence. We were able to rewrite the stories of future generations of girls in our own family and hopefully one day, the world.
This is a woman breaking free from her mundane reality, devoid of color. She dreams in a colorful, "nonsensical" way that people in her life would not understand. She could be considered insane, yet her dreams are more vivid and imaginative than actual life. This is frequently how schizophrenia occurs to me, more engaging and exciting than real life.
Upasana is a non binary illustrator and artist based out of Kolkata, India. Their work explores identity and personal narratives by using a visual remnant or evidence of the contexts they work with. They are especially drawn to patterns which to them communicate complex truths about the past, present and future. When Upasana is not illustrating they organise and run a queer and trans community art centre in the city.
Illumination by the Light of the Full Moon: An African BDSM experience
Akosua Hanson is an artistic activist, based in Accra, Ghana. Her work spans radio, television, print media, theatre, film, comic art exhibitions, art installations, and graphic novels. Akosua’s activism has been centred around pan-Africanism and feminism, with an interest in the intersection of art, pop culture, and activism. She has a Masters in Philosophy in African Studies with a focus on Gender and African Philosophical Thought. Akosua Hanson is the creator of Moongirls, a graphic novel series that follows the adventures of four superheroes fighting for an Africa free from corruption, neocolonialism, religious fundamentalism, rape culture, homophobia and more. She works as a radio host at Y 107.9 FM, Ghana.
Ever experienced moments of deep clarity during or after sex?
In these panels, the Moongirl Wadjet is engaged in BDSM lovemaking with a two-gender daemon. Of the four Moongirls, Wadjet is the healer and philosopher, the conduit of the Oracle. She does this to launch a scientific and spiritual process – an experiment she calls “Illumination by the Light of the Full Moon” – through which she traces a vibrational time arc between her memories, sensations, emotions, visions, and imagination. It is a form of vibrational time travel in order to discover what she terms as “truth-revelations.”
During the experience, some of Wadjet’s hazy visions include: an approaching apocalypse brought about by humans’ environmental destruction in service to a voracious capitalism; a childhood memory of being hospitalized after a mental health diagnosis; and a vision of a Moongirls’ origin story of the Biblical figure of Noah as an ancient black Moongirl warning of the dangers of environmental pollution.
More than a fun kink to explore for the sensations, BDSM can be a way of addressing emotional pain and trauma. It has been a medium of sexual healing for me, providing a radical form of liberation. There is a purge that happens when physical pain is inflicted on the body. Inflicted with consent, it draws out emotional pain – almost like a “calling forth.” The whip on my body allows me to release suppressed emotions: anxiety, depression, my sense of defenselessness to the stresses that overwhelm me sometimes.
When engaging in BDSM as an avenue for healing, lovers must learn to be very aware of and responsible for each other. Because even though consent may have been initially given, we must be attentive to any changes that might occur in the process, especially as feelings intensify. I approach BDSM with the understanding that in order to surrender pain, love and empathy have to be the basis of the process and by that, I create space or open up for love.
The engagement with aftercare after the infliction of pain is a completion of the process. This can be done in very simple ways such as cuddling, checking if they need water, watching a movie together, sharing a hug or just sharing a joint. It can be whatever your chosen love language is. This holding space, with the understanding that wounds have been opened, is necessary to complete the process of healing. It is the biggest lesson in practising empathy and learning to really hold your partner, due to the delicacy in blurring the lines between pain and pleasure. In this way, BDSM is a form of care work for me.
After BDSM sex, I feel a clarity and calm that puts me in a great creative space and spiritually empowers me. It is an almost magical experience watching the pain transform into something else in real time. Similarly, this personally liberating experience of BDSM allows Wadjet to access the foreknowledge, wisdom, and clarity to aid in her moongirl duties in fighting African patriarchy.
Moongirls was birthed during my tenure as the director for Drama Queens, a young artistic activist organization based in Ghana. Since our inception in 2016, we’ve employed different artistic media as part of their feminist, pan-Africanist, and environmentalist activism. We used poetry, short stories, theatre, film, and music to address issues such as corruption, patriarchy, environmental degradation, and homophobia.
Our inaugural theatre production, “The Seamstress of St. Francis Street” and “Until Someone Wakes Up” addressed the problem of rape culture in our communities. Another one, “Just Like Us,” was arguably one of the first Ghanaian theatre productions to directly address the country’s deep-seated issue of homophobia. Queer Universities Ghana, our queer film workshop for African filmmakers, has trained filmmakers from Ghana, Nigeria, South Africa, and Uganda. Films birthed during the workshop, like “Baby Girl: An Intersex Story” by Selassie Djamey, have gone on to be screened at film festivals. Therefore, moving to the medium of graphic novels was a natural progression.
About seven years ago, I’d started a novel that I never completed about the lives of four women. In 2018, the Open Society Initiative for West Africa (OSIWA) opened up a grant opportunity that launched the production of the project and my uncompleted novel was turned into Moongirls.
There have been two seasons of Moongirls made up of six chapters each. Contributing writers and editors for the first season were Suhaida Dramani, Tsiddi Can-Tamakloe, George Hanson, and Wanlov the Kubolor. Writers for the second season were Yaba Armah, Nadia Ahidjo, and myself. Character illustrations and conceptualizations were by Ghanaian artist Kissiwa. And AnimaxFYB Studio, a premium animation, design, and visual effects studio, does the illustrations.
During the experience, some of Wadjet’s hazy visions include: an approaching apocalypse brought about by humans’ environmental destruction in service to a voracious capitalism; a childhood memory of being hospitalized after a mental health diagnosis; and a vision of a Moongirls’ origin story of the Biblical figure of Noah as an ancient black Moongirl warning of the dangers of environmental pollution.
Writing Moongirls between 2018 and 2022 has been a labour of love for me, even, a labour for liberation. I aim to be very explorative in form and style: I’ve dabbled in converting other forms of writing, such as short stories and poetry, to graphic novel format. By merging illustration and text, as graphic novels do, Moongirls aims to tackle the big issues and to honor real life activists. My decision to centre queer women superheroes – which is rare to see in this canon – came to mean so much more when a dangerous backdrop started developing in Ghana in 2021.
Last year saw a marked hike in violence for the Ghanaian LGBT+ community that was sparked by the shutdown of an LGBT+ community centre. This was followed by arbitrary arrests and imprisonment of people suspected to be on the queer spectrum, as well as of those accused of pushing an “LGBT agenda.” Crowning this was the introduction in Ghanaian Parliament of an anti-LGBT bill named “Proper Human Sexual Rights and Ghanaian Family Values.” This bill is arguably the most draconian anti-LGBT bill ever drafted in the region, following previous attempts in countries like Nigeria, Uganda and Kenya.
I remember quite vividly the first time I read the draft of this bill.
It was a Friday night, typically a night I take off to rest or party after a long work week. By sheer luck, the draft was leaked and shared with me on a WhatsApp group. As I read it, a deep sense of fear and alarm made burnt toast of my Friday night chill. This bill proposed to slap any LGBT+ advocacy with five to ten years of imprisonment, and to fine and imprison people who identify as LGBT+ unless they “recanted” and accepted conversion therapy. In the draft bill, even asexual people were criminalized. The bill went for all fundamental freedoms: freedoms of thought, of being, and the freedom to hold one’s personal truth and choose to live your life by that truth. The bill even went for social media and art. If it passed, Moongirls would be banned literature. What the bill proposed to do was so evil and far-reaching, I was stunned into a depression at the depth of hate from which it had been crafted.
Scrolling through my Twitter timeline that night, the terror I felt inside me was mirrored. The timeline was a livestream of emotions as people reacted in real time to what they were reading: disbelief to terror to a deep disappointment and sorrow when we realized how far the bill wanted to go. Some tweeted their readiness to fold up and leave the country. Then, in the way Ghanaians do, sorrow and fear is alchemized to humour. From humour came the zest to upscale the fight.
So, the work still continues. I created Moongirls to provide an alternative form of education, to provide knowledge where it has been suppressed by violent patriarchy, and to create visibility where the LGBT+ community has been erased. It is also important that African BDSM is given this platform of representation when so much of BDSM representation is white. Sexual pleasure, through BDSM or otherwise, as well as non-heterosexual love, transcend race and continent because sexual pleasure and its diversity of experience are as old as time.
Speaking on behalf of the Board, I write to express our deepest gratitude, appreciation, and respect for Hakima Abbas and Cindy Clark, our extraordinary Co-Executive Directors during the past five years who will be stepping aside to refresh the AWID leadership as we move into a new strategic plan and phase of our organizational life. They have consistently practiced the best principles of feminist organizational leadership and ethics of care as they navigated us through one of the most unpredictable, turbulent times in recent history of the world, the COVID-19 syndemic, and the subsequent downward global political spiral. They held AWID, our Staff, and Board firmly, gently, and lovingly as all of us experienced various impacts. They also held steadfastly to AWID vision and mission as they responded respectfully and strategically to various changes, not least the cancellation of the AWID Forum.
Going forward… we expect to continue with the co-directorship model given the nature, scope, and weight of the responsibilities of the executive role at AWID. Our first experience with co-leadership was a success in a multitude of ways, as you all have seen.
The Board decided to prioritize an internal recruitment process first, fully recognizing the great potential that exists within the current team. We expect to complete the transition by the end of 2022. Hakima and Cindy will stagger their departure, and will facilitate a smooth transition to the new leadership.
Seeing Cindy and Hakima leave AWID is difficult for the Board as well as others who have worked closely with them and love them. Nonetheless, rest assured the AWID Board is leading the transition process in a way that fully recognizes the beautiful and inspiring indelible marks Hakima and Cindy will be leaving as part of our 40-year history, that embraces the next step of on-boarding and supporting new leadership, and that inspires us to do better at this moment in AWID's life.
Major organizational transitions are neither simple nor easy. Sometimes they are forced, beyond anyone’s control, fraught, or even destructive. I, and many of you, have seen examples of those kinds of transitions. At other times, the staff’s needs and aspirations are aligned with those of the organization. Although we did not choose or wish Cindy and Hakima to leave AWID, their decision and AWID moving into the next strategic plan and new decade of existence are aligned. Best of all, we are in the wonderful, super competent, creative, and feminist hands of the Staff and Board.
We thank you, dear Feminist Movements, for your confidence in AWID. We also ask you to support our leadership transition in the coming months. Let’s continue to build, deepen, and strengthen our connections, as we have done for the past 40 years.
Please stay tuned for more concrete developments and updates. You will be hearing from us in the coming weeks.
In feminist solidarity and love, Margo Okazawa-Rey
President, AWID Board
Hello again, and again, and again. I have known and loved you my entire adult life, since I first met you meaningfully, after graduating from university. I’d seen you one time before then. That was you appearing as Betty Friedan on a local TV talk show in the US Midwest, in the late-1960s. At the time, Mrs. Wells, my other mother, and I commented on what wild, far-fetched ideas this woman was trying to convince us about. Decade after decade since then I have fallen more deeply in love with you, Beloved, and understand and witness your political and theoretical brilliance, ethical and moral authority, creativity, joy, and love, above all. Nearly 60 years later, I know we are partners forever.
The early years of our acquaintanceship was ok. I was quite self-involved--figuring racial, gender, and sexual identity; getting clear on my core politics, values, and ethics; completing my formal education--and you provided numerous settings, intellectual drop-in centers, and comforting holding environments where and through which I was able to craft the young-adult building blocks of the feminist and human being whom I would become.
The predominantly white women’s movement of Cambridge and Boston, including Daughters of Bilitis, was my starting place. That suited me at the time but soon realized I desired something more. Poof! Like magic (serendipity), I connected with a small group of radical, anti-imperialist, Black, socialist lesbian women and we soon became the Combahee River Collective.
That early Combahee experience, combined with critical life lessons and particular African-American/Korean immigrant racial politics of early-1990s in the US, prepared me for the journey that has led me to identify and work as a transnational feminist to address militarism and to dedicate myself to imagining other worlds where all living beings will thrive.
The next two critical women’s-movement moments were decades after Combahee years but deeply linked. First was meeting and being invited into the Korean feminist movement organizing against US military bases and supporting the “kijichon women” the Korean women whose lives, including for some, their mixed-race children, revolved around servicing US military personnel in numerous ways in villages and towns adjacent to the bases. Korean Beloved Feminists, especially Kim Yon-Ja and Ahn Il-Soon, the first sisters I met and traveled with, made me see and understand the critical importance of nation as an analytical and organizing principle. The “capstone” was living, working in occupied Palestine. The late Maha Abu-Dayyeh introduced me to the Palestinian women’s movement, with a profound comment, “you can leave Palestine but Palestine will never leave you.” So true. And, all my work and experiences across many borders brought me to AWID--my second home.
As you know, Beloved, being with you has not been easy or simple. Indeed, you are demanding, consistently riddled with contradictions, and sometimes even hurtful. Nonetheless, you continue to grow and develop, as you are supporting my political, emotional, and spiritual growth and development. I guess we are growing each other--a very profound process to which I will dedicate the rest of my time in my current form.
The through-line of being with you all these decades is this:
Feminists Collectively Engaging the Heads, Hearts, Hands, and Spirits to transform our worlds
So much love, Feminist Movements!
Your Margo
AKA DJ MOR Love and Joy
Wellfleet Massachusetts USA
AWID Privacy Policy, Your rights to privacy and cookies
This policy governs all pages hosted at www.awid.org, and any other websites under the control of the AWID (the “Website”) and registrations for these sites. It does not apply to pages hosted by organisations other than AWID, to which we may link and whose privacy policies may differ. Please read the following policy to understand our privacy policy regarding nature, purpose, using and sharing of your personal identifiable information that is collected via this website.
1. Types of information collected on this site
Generally, you can browse this website without submitting your personal information to us. However, in some circumstances, we will ask for your personal information.
1.1 Information you provide to us
When you are on the website and are asked for personal information, you are sharing that information only with AWID.
1.1.1 The information you provide to get updates from AWID:
When you register to use the website – for example, subscribe to receive emails from us or apply to become a member - you provide us with the mandatory information about you like Name, country, language to receive email updates and email address. This information is provided by you through secure forms and is stored on secure servers.
1.1.2 The payment information you provide to become member or registering for a paid event:
Also, while becoming a member or registering for events, you may need to provide payment information. AWID doesn’t store any credit card information on its servers and uses payment gateway to process the payment information.
1.1.3 The optional information you chose to give us as AWID member (with consent)
When you communicate with AWID, provide optional information through forms on the website or use the site to communicate with other members, we collect information about your communication and any information you choose to provide.
1.1.4 Information you provide us through contact forms or when you directly communicate with us
When you communicate with us, we collect your communication and any other information you choose to provide us.
1.2 Information that is automatically collected (third party cookies)
In addition, when you interact with the Website, our servers may keep an activity log that does not identify you individually (“Non-Personal Information”). Generally, we collect the following categories of Non-Personal Information:
We may collect certain demographic data such as age and gender as part of collecting personal information;
We collect and store certain device information about your computer, mobile device, or other device that you use to access the Website. This information may include IP address, geolocation information, unique device identifiers, browser type, browser language, and other transactional information;
We automatically log certain usage information about your use of the Website. This information includes a reading history of the pages you view. We use this information to provide you with a more customized experience on the Website;
We collect and store additional “traffic data” such as time of access, date of access, software crash reports, session identification number, access times, and referring website addresses; and
We collect and store your search terms and search results.
We also collect and store certain other information regarding our users’ use of the Website so that third parties may provide us with reports and analysis regarding usage and browsing patterns of the Website.
If you do not wish to receive cookies you can easily modify your web browser to refuse cookies, or to notify you when you receive a new cookie, see how here.
2. Use of information collected on this website
AWID uses the information we collect about you to:
Better understand how you are using our website and what we could do to improve your experience.
Communicate with you via email to share resources and analysis in the field of women's rights, connect with you and provide opportunities to engage with our work, keep you updated about developments at AWID and with our partners.
Comply with our legal obligations to:
Detect and prevent fraud, spam, abuse, security incidents, and other harmful activity.
Conduct security investigations and risk assessments.
Verify or authenticate information provided by you (such as to verify your authorization to act as an agent on behalf of a nonprofit organization).
Conduct checks against databases and other information sources, to the extent permitted by applicable laws.
Resolve any disputes with any of our users or customers and enforce our agreements with third parties.
If you have subscribed to AWID´s e-newsletters or email updates or you have become a member, we will send you regular communications as specified in the relevant area of the website. You are able to unsubscribe from any of the e-newsletters or email updates at any time by using the unsubscribe information provided in our emails.
4. Accessing, changing and removing information
The accuracy of your individual identifying information is important to AWID. We are always looking for ways to make it easier for you to review and correct the information that AWID maintains about you through our website. If you change your email address, or if any of the other information we hold is inaccurate or out of date, please write to us here.
Where you have provided AWID with consent to use your personal data, you can withdraw it any time by sending us a communication and specifying which consent you are withdrawing. Please note that the withdrawal of your consent does not affect the lawfulness of any processing activities based on such consent before its withdrawal.
Where applicable, you may also have a right to receive a machine-readable copy of your personal data. If you would like to have a copy of the personal data we hold on you or if you think that we hold incorrect personal data about you, please write to us.
You also have the right to ask us to delete your personal data or restrict how it is used. There may be exceptions to the right to erasure for specific legal reasons which, if applicable, we will set out for you in response to your request.
At any time, regardless of applicable law, you may object to us processing your personal information for direct marketing purposes. You may, at any time, ask AWID to cease processing your data for these direct marketing purposes by Contacting Us.
5. Sharing information
Except as explained below, AWID will not disclose any of your personally identifiable information, and will not sell or rent lists containing your information to third parties. AWID may disclose information when it has your permission to do so or under special circumstances, such as when it believes in good faith that the law requires it.
6. Information security
We are continuously implementing and updating administrative, technical, and physical security measures to help protect your information against unauthorized access, loss, destruction, or alteration. Some of the safeguards we use to protect your information are firewalls and data encryption, and information access controls. If you know or have reason to believe that your AWID membership credentials have been lost, stolen, misappropriated, or otherwise compromised or in case of any actual or suspected unauthorized use of your AWID membership account, please contact us through on Contact Us.
7. Changes to this policy & Contacting us
This policy may change from time to time. The changed policy will be posted on this website and Last updated date at the end of the policy will be updated. There will be an email update sent to you for the revised policy and if you do not agree with the revised policy, you will have the option to cancel you registration(s) with us. You can also write to us here. We welcome your feedback!
