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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.
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.
Riham was a lawyer and activist committed to monitoring rights violations in Yemen.
She worked with other activists to supply civilians trapped by Houthi militias in the outskirts of the city of Taiz with food and water.
Riham was killed in February 2018 and it is unconfirmed whether she was killed by a sniper or hit by an aircraft. Nobody has been held accountable for her murder.
Resources to support feminist movements, policy-makers, and allies!
Florence was a disability rights activist who worked with several disabled women’s organizations in Uganda.
She also held the position of Chairperson of the Lira District Disabled Women Association, as well as the Lira District Women Councilors’ caucus. Trained as a counsellor for persons with disabilities and parents of children with disabilities, she supported many projects that called for greater representation of persons with disabilities.
She died of a motorcycle accident.
This is an English article
- translated from the French article
ทุกสามถึงสี่ปี AWID จะเป็นเจ้าภาพงานประชุมนานาชาติที่สำคัญ โดยจะเป็นการประชุมขนาดใหญ่ระดับโลกที่หัวใจหลักอยู่ที่ขบวนการเฟมินิสต์และความเป็นธรรมทางเพศที่หลากหลาย เป็นการรวมตัวกันระดับโลกของนักกิจกรรมเฟมินิสต์ เครือข่ายพันธมิตร นักวิชาการ แหล่งทุน และผู้กำหนดนโยบาย โดยฟอรัมเปลี่ยนสถานที่จัดหมุนเวียนไปในต่างภูมิภาคและในประเทศต่างๆทั่วซีกโลกใต้
Known as the New York Drag queen of color, Silvia was fierce and tireless in her advocacy, in defense of those who were marginalized and excluded as the “gay rights” movement mainstreamed in the United States in the early 1970’s.
In a well-known speech on Christopher Street Day in 1973, Sylvia, shouted through a crowd of LGBT community members:
“You all tell me, go and hide my tail between my legs.
I will no longer put up with this shit.
I have been beaten.
I have had my nose broken.
I have been thrown in jail.
I have lost my job.
I have lost my apartment.
For gay liberation, and you all treat me this way?
What the fuck’s wrong with you all?
Think about that!”
In 1969, at age 17, Silvia took part in the iconic Stonewall Riots by allegedly throwing the second Molotov cocktail to protest the police raid of the gay bar in Manhattan. She continued to be a central figure in the uprisings that followed, organizing rallies and fighting back police brutality.
In 1970, Sylvia worked together with Marsha P. Johnson to establish Street Transvestite Action Revolutionaries (S.T.A.R.), a political collective and organisation that would set up projects of mutual support for trans people living on the streets, those struggling with drug addiction and in prisons and in particular for trans people of color and those living in poverty.
Defiant of labels, Silvia lived life in a way that challenged people in the gay liberation movement to think differently. She said:
“I left home at age 10 in 1961. I hustled on 42nd Street. The early 60s was not a good time for drag queens, effeminate boys or boys that wore makeup like we did. Back then we were beat up by the police, by everybody. I didn't really come out as a drag queen until the late 60s. when drag queens were arrested, what degradation there was. I remember the first time I got arrested, I wasn't even in full drag. I was walking down the street and the cops just snatched me. People now want to call me a lesbian because I'm with Julia, and I say, "No. I'm just me. I'm not a lesbian." I'm tired of being labeled. I don't even like the label transgender. I'm tired of living with labels. I just want to be who I am. I am Sylvia Rivera.
Through her activism and courage, Sylvia offered a mirror that reflected all that was wrong within society, but also the possibility of transformation. Sylvia was born in 1951 and passed away in 2002.
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ไม่ คุณไม่จะเป็นต้องเป็นสมาชิก AWID เพื่อที่จะเข้าร่วมฟอรัม แต่สมาชิก AWID จะได้รับส่วนลดค่าลงทะเบียนรวมถึงสิทธิประโยชน์อื่นๆ เรียนรู้เพิ่มเติมเกี่ยวกับการเป็นสมาชิก AWID
Laurie Carlos was an actor, director, dancer, playwright, and poet in the United States. An extraordinary artist and visionary with powerful ways of bringing the art out in others.
“Laurie walked in the room (any room/every room) with swirling clairvoyance, artistic genius, embodied rigor, fierce realness—and a determination to be free...and to free others. A Magic Maker. A Seer. A Shape Shifter. Laurie told me once that she went inside people’s bodies to find what they needed.” - Sharon Bridgforth
She combined performance styles such as rhythmic gestures and text. Laurie mentored new actors, performers, writers and helped amplify their work through Naked Stages, a fellowship for emerging artists. She was an artistic fellow at Penumbra Theater and supported with identifying scripts to produce, with a goal of “bringing more feminine voices into the theater”. Laurie was also a member of Urban Bush Women, a renowned contemporary dance company telling stories of women of the African diaspora.
In 1976, as Lady in Blue, she made her Broadway debut in Ntozake Shange’s original and award-winning production of the poetic drama For colored girls who have considered suicide / when the rainbow is enuf. Laurie’s own works include White Chocolate, The Cooking Show, and Organdy Falsetto.
“I tell the stories in the movement—the inside dances that occur spontaneously, as in life—the music and the text. If I write a line, it doesn’t necessarily have to be a line that is spoken; it can be a line that’s moved. A line from which music is created. The gesture becomes the sentence. So much of who we are as women, as people, has to do with how we gesture to one another all the time, and particularly through emotional moments. Gesture becomes a sentence or a state of fact. If I put on a script ‘four gestures,’ that doesn’t mean I’m not saying anything; that means I have opened it up for something to be said physically.” Laurie Carlos
Laurie was born and grew up in New York City, worked and lived in Twin Cities. She passed away on 29 December 2016, at the age of 67, after a battle with colon cancer.
“I believe that that was exactly Laurie’s intention. To save us. From mediocrity. From ego. From laziness. From half-realized art making. From being paralyzed by fear.
Laurie wanted to help us Shine fully.
In our artistry.
In our Lives.” - Sharon Bridgforth for Pillsbury House Theatre
“There’s no one that knew Laurie that wouldn’t call her a singular individual. She was her own person. She was her own person, her own artist; she put the world as she knew it on stage with real style and understanding, and she lived her art.” - Lou Bellamy, Founder of Penumbra Theater Company, for Star Tribune
Today, many community knowledge systems are at risk.
Fast-paced economic, political, and cultural changes are bulldozing environments, practices and livelihoods. Various forms of knowledge are being erased from practice, commodified and colonized in the massive swallow of globalisation and in the promise of short-term gains or band aid solutions.
Buen Vivir, a concept adapted from Andean Indigenous peoples’ knowledges, is described as the collective achievement of a life in fulfillment, based on harmonic and balanced relations among human beings and all living beings, in reciprocity and complementarity. It means acknowledging that human beings are a part of nature, we depend on nature and are inter-dependent among ourselves.
Inherent in Buen Vivir is a vision that integrates production and reproduction as inseparable processes of the economy, of wealth production and living conditions.
In this sense, a broad understanding of Buen vivir from a feminist lens values relationships and resources mobilized in production and reproduction cycles—favouring equilibrium of not just the market kind—to guarantee continuity and changes as long as they are compatible with economic justice and life sustainability.
From a feminist perspective there have also been criticisms of the binary conceptions of gender and complementary of men and women. Binary conceptions leave little space for a deeper discussion on heteropatriarchy and non-conforming gender relationships.
Nevertheless, one of the main contributions of centralizing the principle of Buen Vivir to political, economic and social frameworks, is that equality is no longer the paradigm of individual rights, but the transformation of society as a whole.
คุณสามารถส่งกิจกรรมได้มากถึง 2 กิจกรรมในฐานะผู้จัดกิจกรรม และคุณยังสามารถเป็นผู้ร่วมจัดในการส่งกิจกรรมของผู้อื่นได้
Esther Mwikali’s home was in Mithini village, Murang’a County, Kenya. A prominent and valued land rights activist, she looked into abuses against squatters who are living on land claimed by tycoons. The investigation Esther was part of also involved land rights’ violations in Makuyu by powerful individuals.
After failing to attend a village meeting, a search party went looking for Esther. On 27 August 2019, two days after her disappearance, her body was found on a farm near her homestead, displaying signs of torture. She was brutally murdered.
“Esther was renowned for her work to prevent community members being evicted from land claimed by tycoons. Local activists had no doubt her murder was related to the area’s ongoing land struggles, a tragic reminder of the alarming regularity with which extra-judicial killings are routinely carried out in Kenya,” - Global Witness Report, July 2020
“We associate Mwikali’s death with land struggles around here. We are asking the Government to investigate the matter without delay.” - James Mburu, spokesperson for the squatters
“Action should be taken on individuals who are alleged to have threatened the squatters including Mwikali's family.” - Alice Karanja, National Coalition of Human Rights Defenders
“The impact of her work and tenacity will remain alive in Kenya for decades. CJGEA consoles with the bereaved and it calls for justice.” - Center for Justice and Governmental Action (CJGEA) Press Release, 13 September 2019
This bibliography intends to contribute to the desire for learning and engagement identified by activists in the Middle East and North Africa region when reflecting on the aftermath of fast unfolding transitions in the region. Such transitions, while specific to the context of MENA, are not unique in their occurrences around the world. Experiences and practices of feminists from around the world engaged in similar, even if not identical, struggles towards the democratization of their countries with a gendered lens and a feminist politics constitute an important knowledge bank that activists can draw upon, learn from, and engage with. This resource mapping aims to fill the gap realized in various convenings and conversations of a lack of information sharing and knowledge bridging among feminists across the regions that experienced similar uprisings; particularly along south-south and east-south lines.
This publication represents a research mapping of key resources, publications and materials on transitions to democracy and women’s rights in different countries of the world that have undergone such processes, such as: Indonesia, Chile, South Africa, Nepal, Mexico, Argentina, Poland, Ukraine, as well as within the Middle East and North Africa (MENA). It provides bibliographic information and short summaries of resources which succinctly identify the contextual changes and challenges facing women in those particular transitional moments, as well as clearly delineates the ways in which women’s rights activists sought to confront those challenges and what lessons were learned.
We hope that this collection of ideas, research, analysis and experiences provides the kind of rich ingredients needed to create new recipes for confronting old and new challenges. By sharing these texts, our goal is to make links across borders, expand possibilities and knowledge, and invite debate, reflection, and inspiration for women’s rights organizations and activists in the MENA region. While every moment and space has its own unique flavor and history, highlighting connections to similar challenges and aspirations allows us all to bring things in conversation with one another, imagine a new vantage point into a problem, and increase our sense of belonging and purpose and thus our capacity to stay strong in the face of the seemingly impossible. It is the collective strength of a movement that gives it the power to create change. The goal with this publication is not that one specific text will necessarily help illuminate new solutions, but that the combined knowledge and analysis from a variety of sources will provide readers with an opportunity to expand their horizons and foster connections. In our small way, we hope to contribute to furthering the democratization of knowledge, and supporting women’s rights movements in the MENA to continue building an inclusive transition process that will result in advancements of social justice and gender equality.
ได้หรือไม่ เพราะได้มีการเสนอกิจกรรมเป็นเวลาเกือบ 1 ปีก่อนกิจกรรมจริง
แน่นอน! ในตอนนี้แบบฟอร์มสำหรับเสนอกิจกรรมได้ให้ระบุชื่อวิทยากร แม้วิทยากรเหล่านั้นอาจยังไม่ได้ยืนยันเข้าร่วมเราเข้าใจว่าการเปลี่ยนแปลงอาจเกิดขึ้นได้ภายในระยะเวลา 1 ปี
The information contained in this communication is confidential and is intended solely for the addressee.
This communication may contain information proprietary to the Association for Women’s Rights in Development (AWID), and may not be reproduced or disseminated in whole or in part without AWID's written consent.
AWID does not warrant that any information contained herein is complete or correct. This communication is not an offer to enter into any agreement and is not a confirmation of any agreement described herein unless the context clearly indicates the contrary.
AWID is not acting as your adviser in any agreement that may be proposed herein, and this communication does not constitute a recommendation, guidance or proposal to enter into any agreement.
AWID does not guarantee or otherwise assure the expected results of any agreement. This communication may contain views or opinions that are not necessarily those of AWID.
You shall not be entitled to place any reliance on the information contained in this communication for the purposes of entering into any proposed agreement or otherwise.
by Gabrielle Tesfaye
When I created my short animation film, The Water Will Carry Us Home, my mind was plugged into a magical world of fearless resilience and ancestral mermaids who transformed their deepest scars into a new generation of life. Set during the time of the transatlantic slave trade, I was pulled to show this history of African enslavement in a different way than it has ever been told on screen. I wanted to give my ancestors the commemoration they never received. I was motivated to reclaim the history that continues to paint us as helpless victims. Essentially, I wanted to tell the truth. To reclaim and reimagine our history and perspective, means to simultaneously heal our generational traumas that exist today. It is this important work that so many women through the African continent and the African diaspora are doing today, igniting our collective Feminist Realities.
In the making of the film I researched religiously, and in what was written, I saw what was not. There were many times I felt I was hitting a wall trying to find something that was not there, and it was in those voided places that I realized the storytellers of today are filling the voids. I found the most useful stories in contemporary art, film, and African diaspora folklore.
“... a truly unique, raw and representation of feminist power in action.”
- Hers is Ours Collective, organizers of the Outsider Moving Art & Film Festival
The Water Will Carry Us Home carried itself around the world into the hearts of the Diaspora. It also led me here, as the curator of the African and Diaspora film screenings of AWID’s Co-Creating Feminist Realities initiative. Whilst curating this collection of films, I looked for stories that were completely unique, raw and representational of feminist power in action. Consisting of three shorts and one feature, they reveal stories through many communities in Africa and the diaspora, including Ethiopia, Uganda, The Democratic Republic of Congo, South Africa and Kenya. These films reposition African women as what they truly are- self governing and empowered through the unfiltered lens of their work.
“An incredibly beautiful, attentive, finely observed telling of the connection between Africa and its Diaspora formed form the trans Altantic slave trade. The visual universe it creates is just gorgeous… an echo of the fusion of spiritual traditions and non-linear time that speak to how we are still experiencing the moments of the past that formed 'new' worlds of diaspora blackness.”
- Jessica Horn, PanAfrican feminst strategist, writer and co-creator of the temple of her skin
Our short documentary film, Women Hold Up the Sky, created by the WoMin African Alliance, tells the story of women activists in Uganda and the Democractic Republic of Congo who are actively reclaiming their land rights, threatened by mining and other extractives in their homes. The film not only exposes the corruption of extractivism, but finally shares what we have been missing on screen - how grassroots African women are actively organizing, strategizing, and analyzing within their communities to create women-centred and community-driven alternatives. Margaret Mapondera of WoMin explains it beautifully, that they are the “custodians of lands, forests, waters, rivers and territories; the ways in which women hold and transmit the stories / herstories of our past and our futures; the powerful and transformative ways of being that women embody in their relationships to each other, to the environment and in themselves.”
“A refreshing and much-needed piece of cinema highlighting the many ways African women are coming together to create women-led and community-driven alternatives… The fight is on and
women hold the key.”
- Hers is Ours Collective, organizers of the Outsider Moving Art & Film Festival
Pumzi, created by critically acclaimed director Wanuri Kahiu, bridges Africa and science fiction around climate and environmentalism. Pumzi imagines a futuristic world where humankind has been forced to settle on another planet. While Pumzi seems afro-futuristic and new for Africa on the surface, Kahiu reveals the truth that science fiction and fantasy is something that has always existed in African storytelling, but never recognized. Kahiu creates a world where women are truth seekers and heroes who pioneer us into a new world, the opposite of images that position Africans as victims of war and destruction. Instead, Pumzi writes the narrative of African women being their own saviors and problem solvers, who stop at no cost to follow the cryptic visions they channel in their dreams.
“A pioneering African sci-fi film, situating women as scribes of the future and opening up our visions about other worlds, other universes we might occupy as Africans - always an important exercise as we imagine our way out of present crises.”
- Jessica Horn, PanAfrican feminst strategist, writer and co-creator of the temple of her skin
Our feature film of the program, Finding Sally is set in 1970’s Ethiopia during the time of The Red Terror war, documenting the striking history of director Tamara Mariam Dawit’s activist aunt, Sally Dawit. Throughout the film we learn of Sally’s incredible journey as a young and courageous woman activist navigating one of the most violent times of Ethiopian history. Sally’s story not only reveals the gravity of this time, but the reflection of her own personal evolution as a young woman. Dawit was intentional to tell the film through the lens of women, untouched by male voices. Due to so much Ethiopian history being told by men, the making of this powerful story preserved its reality of honoring the feminist perspective. Dawit explains, “Women in revolution and war are often only included as someone's spouse or someone who did cooking or typing work. I wanted to look at the activism around the revolution only through the memories and voices of women.” Finding Sally demonstrates the reclamation of history sought by current filmmakers today. It is an igniting of feminist power and our connected realities throughout time.
“The responsibility falls on us, to remember these women that came before us and their brilliant work so they are not forgotten like the thousands of women already forgotten while fighting the good fight. Sally is such a woman and may she never be forgotten.”
- Hers is Ours Collective, organizers of the Outsider Moving Art & Film Festival
Register here to watch this film from June 18-22
These films have became a part of my own psyche, empowering me to continue building powerful alternatives towards justice from within. They affirm that I am a woman among a world of women, holding up the skies and actively building indestructible Feminist Realities. These films are more than stories of African women - they are globally relatable, inspiring and set the example of Feminist Realities for all of us around the world.
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