Memory as Resistance: A Tribute to WHRDs no longer with us
AWID’s Tribute is an art exhibition honouring feminists, women’s rights and social justice activists from around the world who are no longer with us.
In 2020, we are taking a turn
This year’s tribute tells stories and shares narratives about those who co-created feminist realities, have offered visions of alternatives to systems and actors that oppress us, and have proposed new ways of organising, mobilising, fighting, working, living, and learning.
49 new portraits of feminists and Women Human Rights Defenders (WHRDs) are added to the gallery. While many of those we honour have passed away due to old age or illness, too many have been killed as a result of their work and who they are.
This increasing violence (by states, corporations, organized crime, unknown gunmen...) is not only aimed at individual activists but at our joint work and feminist realities.
The stories of activists we honour keep their legacy alive and carry their inspiration forward into our movements’ future work.
The portraits of the 2020 edition are designed by award winning illustrator and animator, Louisa Bertman.
AWID would like to thank the families and organizations who shared their personal stories and contributed to this memorial. We join them in continuing the remarkable work of these activists and WHRDs and forging efforts to ensure justice is achieved in cases that remain in impunity.
“They tried to bury us. They didn’t know we were seeds.” - Mexican Proverb
The Tribute was first launched in 2012
It took shape with a physical exhibit of portraits and biographies of feminists and activists who passed away at AWID’s 12th International Forum, in Turkey. It now lives as an online gallery, updated every year.
To date, 467 feminists and WHRDs are featured.
Related Content
Snippet - WITM Our objectives - AR
أهداف استطلاع "أين المال"
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تقديم تحليل محدّث، قوي، مبني على الأدلة ومسيّر نحو النشاط عن وقائع التمويل النسوي للتنظيمات النسوية ووضع البيئة التمويلية النسوية لأعضاء وعضوات AWID، الشركاء/ الشريكات في الحركة والممولين/ات. |
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تحديد وإظهار الفرص للتحول لتمويل أفضل وأكبر للحركات النسوية، لكشف الحلول الزائفة ووقف التوجه الذي يجعل التمويل يتحرك ضد الأجندات التقاطعية أو أجندات العدالة الجندرية. |
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تحديد الرؤى المقترحات والأجندات النسوية، لتمويل يحقق العدالة. |
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Efua Dorkenoo
Conocida afectuosamente como «Mama Efua», su trabajo con el movimiento para terminar con la mutilación genital femenina (MGF) se extendió a lo largo de tres décadas y ayudó a llamar la atención internacional y a generar acciones para erradicar esta práctica dañina.
En 1983, Efua fue una de las fundadoras de FORWARD (The Foundation for Women’s Health, Research and Development, La fundación para la salud de las mujeres, la investigación y el desarrollo), que se convirtió en una organización líder en la batalla por crear conciencia sobre la MGF. Su libro de 1994, Cortar la rosa: mutilación genital femenina, es considerado el primer libro sobre MGF y aparece en la lista de «Los 100 mejores libros africanos del siglo XX» de la Universidad de Columbia.
Originaria de Ghana y enfermera de profesión, Efua se incorporó a la Organización Mundial de la Salud (OMS) en 1995 y con empeño logró la inclusión de la MGF en las agendas de los Estados miembros de la OMS. También trabajó estrechamente con el Gobierno nigeriano en la elaboración de una política nacional integral que sentó las bases para las leyes contra la MGF de Nigeria, que todavía están vigentes. Su trabajo pionero culminó en una campaña liderada por África, «La generación de las niñas», dedicada a terminar con la MGF en el plazo de una generación.
Efua demostró que una persona puede convertirse en una voz unificadora para un movimiento y ahora resultan más relevantes que nunca sus sabias palabras: «la identidad compartida puede ayudar a reunir a activistas que vienen de contextos diferentes y a que tengan un sentido de propósito en común».
The Feminist Film Club
As part of AWID’s Feminist Realities journey, we invite you to explore our newly launched Feminist Film Club: a collection of short and feature films selected by feminist curators and storytellers from around the world, including Jess X. Snow (Asia/Pacific), Gabrielle Tesfaye (Africa/African Diaspora), and Esra Ozban (South West Asia, North Africa). Alejandra Laprea is curating the Latin & Central American program, which we’ll launch in September during AWID’s Crear, Résister, Transform: A Festival for Feminist Movements. In the meantime, look out for announcements on special films screenings and conversations with filmmakers!
Download your faciliation guide:
"A Feminist Approach to Understanding Illicit Financial Flows and Redirecting Global Wealth"
Download your facilitation guide in English
This Guide is also available in Spanish and Russian
Thanks to the co-creators of this facilitation guide:
- Daniela Fonkatz and Ana Ines Abelenda (AWID)
- Zenaida Joachim (Mesoamericanas en Resistencia - El Salvador)
- Olga Shnyrova (Ivanovo Center for Gender Studies - Russia)
- Leah Eryenyu (Akina Mama Wa Afrika - Uganda)
- Daryl Leyesa (Oriang and PKKK/National Rural Women Congress - the Philippines)
Snippet FEA lines of work Against (ES)

VIOLACIONES DE DERECHOS LABORALES
Кому следует принять участие в опросе?
Группы, организации и движения, работающие исключительно или главным образом в интересах женщин, девочек, гендерной справедливости, прав ЛГБТКИ+ людей во всех регионах и на всех уровнях, как недавно созданные, так и давно существующие.
Anja Nedringhous
Zita Kavungirwa Kayange
Zita était une défenseure des droits des femmes de la région du Grand Kivu.
Elle a été la première directrice exécutive d’UWAKI, une organisation de femmes bien connue. Par son travail avec le Réseau des Femmes pour la Défense des Droits et la Paix (RFDP) et le Caucus des femmes du Sud-Kivu pour la paix, elle a consacré sa vie à rétablir la paix dans l'est de la RDC. Elle a très fermement dénoncé l'utilisation de la violence sexuelle comme arme de guerre.
En 2006, elle s'est présentée comme candidate aux premières élections démocratiques en RDC. Bien qu’elle n’ait pas gagné, elle a continué à défendre les droits des femmes et la communauté du Sud-Kivu se souvient d’elle avec affection.
Holding up the Skies
A Film Series on Feminist Realities from Africa and the African Diaspora
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.
Gabrielle Tesfaye is an interdisciplinary artist versed in painting, animation, film, puppetry and interactive installation. Her work is rooted in the African diaspora, Afro-futurism, ancient art practices and cultural storytelling.
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LinkedIn: Association for Women's Rights in Development (AWID)
Snippet FEA Wage Parity (FR)

LA PARITÉ SALARIALE
O nosso grupo, organização e/ou movimento não recebeu ou mobilizou financiamento de financiadores externos. Devemos participar no inquérito?
Sim! Reconhecemos e valorizamos diferentes motivos pelos quais as feministas nos seus respetivos contextos não dispõem de financiamento externo: desde não serem elegíveis para se candidatar a subsídios e/ou receber dinheiro do exterior, até dependerem de recursos gerados autonomamente como uma estratégia política por si só. Queremos saber mais sobre vocês, independentemente da vossa experiência com financiamento externo.
Reason to join 2
Trouvez et créez des connexions. L’AWID compte plus de 9 000 membres, qui s’efforcent tou·te·s de résoudre des questions complémentaires et interconnectées. Cette diversité favorise la pérennité des mouvements et acteures féministes.
Leonor Zamora
Bessy Ferrera
Bessy Ferrera a défendu sans relâche les droits humains des personnes trans, travailleuses du sexe et séropositives au Honduras.
Bessy était aussi membre d’Arcoíris, une organisation qui soutient la communauté LGBTI+. Elle était en outre la personne référente de la plateforme Derechos aquí y Ahora (les droits ici et maintenant) au Honduras et plaidait fermement en faveur d’une pleine citoyenneté pour les personnes trans, ainsi que pour l’adoption d’une loi sur l’identité de genre qui permettrait aux personnes trans de changer légalement d’identité de genre.
« Depuis le début de l’année [2019], la communauté trans a été victime d’une série d’attaques, parce qu’elle a défendu et demandé des droits. » Rihanna Ferrera (sœur de Bessy)
Bessy était une travailleuse du sexe qui a été tuée par balle par deux hommes, au début du mois de juillet 2019, alors qu’elle travaillait dans les rues Comayagüela. Ses assaillants ont par la suite été arrêtés.
Bessy fait partie des nombreux·ses activistes des droits LGBTI+ du Honduras, assassiné·e·s en raison de leur identité et de leur travail, parmi qui se trouvent : Cynthia Nicole, Angy Ferreira, Estefania "Nia" Zuniga, Gloria Carolina Hernandez Vasquez, Paola Barraza, Violeta Rivas et Sherly Montoya.
Le cas de Bessy incarne l’injustice, de même qu’un problème plus large de violence systémique à laquelle se confronte la communauté LGBTI+ au Honduras, puisque l’État ne parvient pas à garantir l’offre de droits ni à fournir une protection. Cela est à l’origine d’une culture de l’impunité.
Malgré les risques auxquels sont confronté.e.s les activistes LGBTI+ au Honduras, tous et toutes continuent leur travail pour défier et résister à la violence, ainsi que pour combattre la stigmatisation et la discrimination au quotidien.
« Si je meurs, il faut que ce soit pour quelque chose de bien, pas pour une futilité. Je ne veux pas mourir en fuyant, en étant lâche. Si je meurs, je veux que les gens disent que je suis mort·e en me battant pour ce qui m’appartient » - membre d’Arcoíris
#MeToo in China
En China, el movimiento #MeToo [«Yo También»] se encendió en enero de 2018, empujado por el ímpetu del movimiento #MeToo de todo el planeta. Fue una respuesta a los problemas culturales y sistémicos relacionados con el género y el poder dentro de China. Las bases del movimiento habían sido establecidas durante décadas, y los muchos años de debate y promoción de la igualdad de género, finalmente, hicieron erupción con tremenda fuerza en toda la sociedad. El movimiento #MeToo fue impulsado fundamentalmente por jóvenes, que incluyen a innumerables mujeres anónimas y sus aliadxs, en busca de oportunidades para hacer realidad el principal «sueño chino»: transformar a China en un país con igualdad de género.
En China, el contexto para el movimiento #MeToo es extremadamente adverso: el Estado de derecho, la justicia y la transparencia de las acciones gubernamentales y la libertad de expresión no pueden darse por descontados, pero estos son precisamente los objetivos por los cuales lucha el movimiento. Ha sido, desde el principio, una lucha intensa, y cada víctima o activista que se visibiliza corre enormes riesgos: desde ser silenciadx o humilladx o de sufrir represalias hasta poner en peligro su seguridad. Todos los éxitos del movimiento #MeToo han sido logrados por quienes son lo suficientemente valientes como para asumir los costos de manifestarse y desafiar la censura.
La exhibición «#MeToo in China» fue inaugurada en 2019 y recorrió cinco ciudades. Su objetivo es dar mayor prominencia a las experiencias personales de lxs víctimas y lxs activistas, para inspirar al público a unirse a la lucha a través del contacto con estas historias. La exposición misma se ha convertido en parte de la lucha #MeToo: ha debido enfrentar desafíos en su itinerario por toda China y, en más de una ocasión, fue amenazada con la clausura.



Snippet FEA WE ARE LEGAL AND ALWAYS WERE (EN)
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