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.
Related Content
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
Snippet - Rights and Resources - EN
Rights and Resources:
Getting Ready for the Next 30 Years
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?!
GenderJobs.org:This is a platform with a comprehensive list of job opportunities to work on gender equality and LGBTQI+ rights, curated by gender professionals and intersectional feminists who intimately know the sector and are extremely passionate about supporting other gender professionals and anyone who is aspiring to become one! (source: https://genderjobs.org/about)
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.
Snippet - WCFM Database blurb 2 - En
Know a Funder? Add them to the Database!
Are you a funder? Or do you know funders that support feminist and gender justice movements? Apply to be a part of the Who Can Fund Me? Database now!
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.
sinppet-annual-budget-size-4-4
Key factors impacting
budget size
→Region
→Level of organizing
→Registration status
→Priorities and Agendas
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.
During Women Deliver, Movement Hubs in Fiji and Georgia are designing their own program rooted in their community to connect virtually to the Women Deliver Conference. Learn about their program!
Interested in hosting Movement Hubs for other global movement events and policy spaces? Get in touch with AWID’s Membership Team: membership@awid.org .
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.
Movilización por las mujeres y las niñas víctimas de la violencia de la guerra en RDC
La organización Initiatives des Femmes en Situations Difficiles pour le Développement Intégré [Iniciativas de las mujeres en situaciones precarias por el desarrollo integrado] se afilió a AWID en 2012 porque consideraron que era «una red a través de la cual IFESIDI podía beneficiarse de la enorme experiencia acumulada en la promoción y la protección de los derechos de las mujeres».
«¡Juntas en la lucha por los derechos de las mujeres y las niñas!»
Durante más de veinte años, las guerras que afectaron a la República Democrática del Congo (RDC) han sido la causa de violaciones masivas a los derechos humanos —especialmente los derechos de las mujeres, las adolescentes y la niñez—, entre ellas la violación y otras formas de violencia contra mujeres y niñas. La apropiación de sus recursos y su consiguiente empobrecimiento, así como el estar en situaciones de vulnerabilidad como desplazadas tras ataques contra sus aldeas, son todos factores que contribuyen a la situación precaria en que viven las mujeres y las niñas. Frente a esa realidad, IFESIDI fue creada en 2002 para mejorar la situación social de las mujeres y niñas víctimas de la violencia relacionada con la guerra, incluidas aquellas que viven en zonas rurales, y para promover y proteger sus derechos. Esta organización no confesional y sin fines de lucro está formada por 35 integrantes; sus actividades cubren al menos la totalidad de la provincia de Kivu Sur, en el este de la RDC. Con el lema «¡Juntas en la lucha por los derechos de las mujeres y las niñas!», IFESIDI espera que las congoleñas de todas las edades puedan vivir con dignidad algún día.
Fortalecer las capacidades económicas y educativas de las mujeres víctimas de la guerra
Además de servicios de consejería para mujeres y niñas víctimas de violencia en diferentes esferas —doméstica, académica y profesional—, IFESIDI está implementando un programa de desarrollo de capacidades económicas y educativas para mujeres víctimas de la guerra. Este programa incluye capacitación laboral, como la fabricación artesanal de jabón, y corte y confección.
Una de las beneficiarias del programa explica: «Antes de que IFESIDI me invitara y me capacitara, yo acarreaba bolsas pesadas de arena para los trabajadores de la construcción en la ciudad de Bukavu y me pasaba el día entero yendo y viniendo con esas bolsas en la espalda. Como mujer desplazada que vivía sin recursos financieros en esta ciudad, no tenía esperanza de seguir viviendo y nadie me miraba al pasar a mi lado... Pero hoy, gracias a IFESIDI, puedo hablar, y cuando paso la gente sabe que «Ahí va la ‘'mamá’ Ponga Musema ».
Movilización como parte de los 16 Días de activismo
Como parte de la campaña «16 Días de activismo contra la violencia de género», que comienza el 25 de noviembre y termina el 10 de diciembre, IFESIDI está organizando actividades para crear conciencia, un panel de debate, estrategias de incidencia, intercambios y una evaluación con las mujeres y las niñas con las que trabaja la organización.
Pour les femmes et les filles victimes de violences de guerre en RDC
L’association Initiatives des Femmes en Situations Difficiles pour le Développement Intégré (IFESIDI) est devenue membre de l’AWID en 2012, considérant cette dernière comme « un réseau à travers lequel l’IFESIDI pourrait bénéficier de beaucoup d’expériences dans le cadre de promotion et de protection des droits des femmes. »
« Ensemble dans la lutte pour les droits des femmes et des filles ! »
Depuis plus de vingt ans, les guerres frappant l’Est de la République démocratique du Congo (RDC) sont à l’origine de violations massives de droits humains – notamment ceux des femmes, des filles et des enfants – incluant des viols et d’autres formes de violences faites aux femmes et aux filles. La situation précaire des femmes et des filles se trouve exacerbée par l’appropriation de leurs ressources, leur paupérisation conséquente ainsi que par leur mise en situation de vulnérabilité liée aux déplacements, suite aux attaques dans leur village. Face à cette réalité, IFEDISI s’est créée en 2002 pour améliorer les conditions sociales des femmes et des filles victimes de violences liées aux guerres, notamment de celles qui vivent en milieu rural, ainsi que pour promouvoir et protéger leurs droits. Cette association non confessionnelle et à but non lucratif est composée de 35 membres et ses activités couvrent au moins toute la province du Sud Kivu à l’Est de la RDC. Porteuse du slogan « Ensemble dans la lutte pour les droits des femmes et des filles ! », IFEDISI souhaite que les femmes et les filles congolaises puissent vivre un jour dans la dignité.
Renforcement des capacités économiques et éducatives des femmes victimes de guerre
En plus de ses activités d’écoute des femmes et des filles victimes de violences dans divers milieux – notamment domestique, scolaire et professionnel –, l’association mène actuellement un programme de renforcement des capacités économiques et éducatives des femmes victimes de guerre. Ce programme comprend des activités d’apprentissage de métiers, liés entre autres à la savonnerie artisanale, la coupe de tissu et la couture.
L’une des bénéficiaires du programme raconte : « Avant d’être invitée par l’IFESIDI et d’être formée, je transportais de lourds sacs de sable pour les constructeurs de bâtiments dans la ville de Bukavu et faisais des vas-et-viens avec ces sacs sur mon dos à longueur de journée. Femme déplacée que je suis dans cette ville, sans ressources financières, j’étais sans aucun espoir de pouvoir continuer à vivre et personne ne me regardait quand je passais… Mais aujourd’hui, grâce à l’IFESIDI, je peux parler, je peux passer et les gens sauront que c’est « mama » Ponga Musema qui passe ! »
Mobilisée dans le cadre des 16 jours d’activisme
Dans le cadre de la Campagne des 16 jours d’activisme contre la violence basée sur le genre qui débute le 25 novembre et se termine le 10 décembre, l’IFESIDI organise cette année des activités de sensibilisation, conférence-débat, stratégies de plaidoyer, échanges et évaluation en présence des femmes et des filles ciblées par l’association.
Répondez à l’appel à soutien de l’IFESIDI pour la création d’un site web qui lui permettrait de gagner en visibilité, en écrivant à membership@awid.org.
Mobilizing for Women and Girl Victims of War Violence in the DRC
The organization l’Initiatives des Femmes en Situations Difficiles pour le Développement Intégré (Initiatives of Women in Difficult Situations for Integrated Development, IFESIDI) became an AWID member in 2012, which they consider “a network through which IFESIDI could benefit from lots of experience in the area of promoting and protecting women’s rights.”
“Together in the fight for women’s and girls’ rights!”
For over twenty years, the wars affecting eastern Democratic Republic of Congo (DRC) have been at the root of massive human rights violations – particularly the rights of women, girls and children – including rape and other forms of violence against women and girls. The appropriation of their resources and their consequent impoverishment, as well as being placed in a vulnerable situations from displacement following attacks in their village, all contribute to a precarious situation for women and girls. Faced with this reality, IFESIDI was created in 2002 to improve the social conditions of women and girl victims of violence related to war, including those living in rural areas; and to promote and protect their rights. This non-denominational non-profit is composed of 35 members, its activities covering at least the whole of the South Kivu province in eastern DRC. With the slogan “Together in the fight for women’s and girls’ rights!” IFESIDI hopes that Congolese women and girls can one day live in dignity.
Strengthening the Economic and Educational Capacities of Women Victims of War
In addition to counselling services for women and girl victims of violence in different spheres – namely domestic, academic and professional – the organization is currently conducting an economic and educational capacity building program for women victims of war. The program includes job training, related to, among others, artisan soap making, fabric cutting and sewing.
One of the beneficiaries of the program explains: “Before being invited by IFESIDI and being trained, I was carrying heavy bags of sand for construction workers in the city of Bukavu, going back and forth with these bags on my back all day long. The displaced woman that I am in this city, without financial resources, I was without any hope to continue to live and no one looked at me when I passed by… But today, thanks to IFESIDI, I can talk, I can pass by and people will know that it’s “mama” Ponga Musema who is passing by!”
Mobilizing as part of the 16 Days of Activism
As part of the 16 Days of Activism against Gender-Based Violence campaign, which begins on 25 November and ends 10 December, IFESIDI is organizing awareness raising activities, a panel discussion, advocacy strategies, exchanges and an evaluation with the women and girls that the organization targets.
Garantizar la seguridad para las/os defensoras/es de derechos humanos, proteger la libertad de expresión
Originaria de Pakistán, Javeria Ayaz Malik es activista de derechos humanos, así como experta en comunicaciones y seguridad. Vive en Johannesburgo, Sudáfrica, y trabaja como Asesora en Seguridad Internacional y jefa del Departamento de Seguridad del Personal en ActionAid International. En ese rol coordina la política de protección y seguridad de la organización y entabla vínculos externos con redes globales de seguridad. Javeria también asesora a líderes de ActionAid sobre estrategias apropiadas para gestión de la seguridad dirigidas a reducir los riesgos que puede enfrentar el personal en materia de protección y seguridad al cumplir con sus tareas.
Javeria tiene una trayectoria profesional en periodismo y comunicación masiva. Trabajó para la televisión nacional de Pakistán, investigando y escribiendo guiones además de ser presentadora tanto de televisión como de radio. Javeria cree fervientemente en los derechos humanos, la libertad de expresión y la igualdad, y considera que el periodismo y la comunicación fueron sus «primeros amores». Nos comparte sus ideas acerca de la relación entre el periodismo y la seguridad:
"El periodismo ético y objetivo puede influir sobre la sociedad, empoderar a las personas que viven en la pobreza y exigir rendición de cuentas a quienes son responsables de cumplir obligaciones. No es sorprendente que las/os periodistas continúen sufriendo amenazas por parte de regímenes opresores e intereses corporativos en todo el mundo. Por eso mis conocimientos sobre seguridad se tornan relevantes."
Como capacitadora certificada y con experiencia en materia de seguridad, Javeria ha desarrollado planes y metodologías de formación que incluyen módulos específicos dirigidos particularmente a mejorar las estrategias de protección para defensoras/es de derechos humanos y sobre todo para las mujeres defensoras. Javeria es una de las escasas mujeres del Sur Global que son expertas en seguridad y desde esa perspectiva dice:
"En esta época y este momento, ¡las mujeres estamos librando una batalla constante! Cada día enfrentamos estereotipos y acoso, pero todo eso solo nos ha hecho más fuertes y más decididas."
Javeria ha estado afiliada a AWID desde marzo de 2015. Cuenta que «me sumé a AWID para entrar en contacto con personas afines a mí y participar más en iniciativas por los derechos de las mujeres a nivel global».
Assurer la sécurité des défenseur-e-s des droits humains, protéger la liberté d’expression
Javeria Ayaz Malik, originaire du Pakistan, est activiste des droits humains et experte en communication et en sécurité. Elle habite Johannesburg, en Afrique du Sud, où elle travaille en qualité d’International Security Advisor (conseillère en sécurité internationale) et responsable du Staff Security Department (département de sécurité du personnel) d’ActionAid International.
Dans cette fonction, elle coordonne les politiques de sécurité et de sûreté de l’organisation et noue des relations externes avec des réseaux de sécurité mondiaux. Javeria conseille aussi la direction d’ActionAid quant aux stratégies appropriées de gestion de la sécurité, visant à réduire les risques de sécurité et de sûreté auxquels le personnel peut être confronté dans l’exercice de ses fonctions.
Javeria a des antécédents professionnels en journalisme et communication de masse, elle a travaillé précédemment pour la télévision nationale du Pakistan, où elle a fait de la recherche et écrit des scripts pour la diffusion, sans oublier son travail d’animatrice de télévision et de présentatrice à la radio. Javeria, ardente défenseuse des droits humains, de la liberté d’expression et de l’égalité, considère le journalisme et la communication comme « son premier amour ». Elle partage avec nous ses réflexions sur le lien entre le journalisme et la sécurité :
Le journalisme éthique et objectif peut façonner une société, renforcer le pouvoir des personnes qui vivent dans la pauvreté et obliger les responsables à rendre des comptes. Il n’est pas étonnant que les journalistes continuent d’être menacés, dans le monde entier, par les régimes répressifs et les intérêts des entreprises. C’est là qu’interviennent mes compétences en matière de sécurité.
Les cours de formation et la méthodologie de Javeria, formatrice certifiée expérimentée en sécurité, comprennent des modules spécifiques particulièrement destinés à améliorer les stratégies de protection pour les défenseur-e-s des droits humains, en particulier pour les défenseuses des droits humains. Javeria, l’une des très rares femmes expertes en sécurité des pays du sud, déclare :
À notre époque, les femmes mènent un combat permanent ! Nous sommes confrontées et luttons contre les stéréotypes et le harcèlement au quotidien, mais cela nous a rendues plus fortes et plus déterminées.
Javeria est membre de l’AWID depuis mars 2015. Elle a adhéré à l’AWID pour « entrer en relation avec des personnes qui partagent les mêmes avis et pour s’impliquer davantage dans les initiatives en faveur des droits des femmes dans le monde. »
Ensuring Security for Human Rights Defenders, Protecting the Freedom of Expression
Originally from Pakistan, Javeria Ayaz Malik is a human rights activist, and a communications and security expert who lives and works in Johannesburg, South Africa as the International Security Advisor and head of the Staff Security Department at ActionAid International. In this role she coordinates the organisation’s safety and security policy and establishes external relationships with global security networks.
Javeria also advises ActionAid’s leadership on appropriate security management strategies aimed at reducing safety and security risks that staff may face in the course of their duties.
Javeria has a professional background in journalism and mass communications and previously worked for Pakistan’s national television where she researched and wrote scripts for broadcasting, in addition to working as a television host and radio presenter. As an ardent believer in human rights, freedom of expression, and equality, Javeria considers journalism and communication “to be her first love”. She shares with us her thoughts on the connection between journalism and security :
Ethical and objective journalism can shape a society, empower people living in poverty, and hold the duty bearers to account. No wonder journalists continue to be under threat at the hands of repressive regimes and corporate interests around the world. That’s where my security skills become relevant.
As a certified and experienced security trainer, Javeria’s training curriculums and methodologies include specific modules particularly aimed at enhancing protection strategies for human rights defenders, and especially for women human rights defenders. As one of the very few women security experts from the Global South, Javeria says:
Women in this age and time are in a constant combat! We face and fight stereotypes and mobbing on a daily basis, but this has only made us stronger and more determined.
Javeria has been an AWID members since March 2015. She joined AWID to “connect with like-minded people and to be more involved in women’s rights initiatives globally.”
Four Decades of Campaigning for the Safety and Rights of Sex Workers
Since 1975, the English Collective of Prostitutes (ECP) has worked nationally and internationally for the decriminalisation of sex work and towards safer working conditions for sex workers. ECP has supported women and other sex workers against charges of soliciting, closure orders, Anti-social behaviour orders (ASBOs), and brothel keeping.
Not criminals
The UK based ECP campaigns for the abolition of laws which criminalize sex workers and their families, for the expunging of criminal records, as well as for housing, economic alternatives and higher benefits and wages and in ECP's words, so that "any of us can leave prostitution if and when we want."
Standing up to state power
The struggle for sex workers’ rights is a continued and decade long struggle. It takes courage to fight against criminalising laws passed by state authorities and enforced by police power. ECP’s courage has often paid off in its many years of advocacy and resistance.
For 12 days in 1982, 50 women from the Collective occupied a church in London to protest against illegal police action, violence and racism against street workers. In 1995, ECP, with the support of Women against Rape, won a landmark case (and first-ever private prosecution for rape) after the authorities declined to prosecute a serial rapist who targeted sex workers. And ten years ago, after the murder of five women in Ipswich, ECP launched the Safety First Coalition, spearheading a campaign against the Policing and Crime Act which gave police greater powers to “arrest us for soliciting, force us into “rehabilitation”, raid our flats, get us evicted, and steal our earnings and property. It also criminalised clients."
Currently the English Collective of Prostitutes is opposing the new Welfare Reform law which abolishes income support as this is the only benefit that mothers and victims of domestic violence rely on. As ECP tells AWID, “Most sex workers are mothers trying to do our best for our children. Mothers should be supported not attacked.”
“We are in touch with sex workers all over the world. The situation of those of us in the Global South and those of us who work the streets, often black women, other women of colour and/or immigrant women, has always been our starting point.”
ECP, an AWID institutional member since 2014, is also part of the International Prostitutes Collective.
Watch Niki Adams of ECP talk about decriminalisation of sex work in Soho.
