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Over the past few years, a troubling new trend at the international human rights level is being observed, where discourses on ‘protecting the family’ are being employed to defend violations committed against family members, to bolster and justify impunity, and to restrict equal rights within and to family life.
The campaign to "Protect the Family" is driven by ultra-conservative efforts to impose "traditional" and patriarchal interpretations of the family, and to move rights out of the hands of family members and into the institution of ‘the family’.
Since 2014, a group of states have been operating as a bloc in human rights spaces under the name “Group of Friends of the Family”, and resolutions on “Protection of the Family” have been successfully passed every year since 2014.
This agenda has spread beyond the Human Rights Council. We have seen regressive language on “the family” being introduced at the Commission on the Status of Women, and attempts made to introduce it in negotiations on the Sustainable Development Goals.
AWID works with partners and allies to jointly resist “Protection of the Family” and other regressive agendas, and to uphold the universality of human rights.
In response to the increased influence of regressive actors in human rights spaces, AWID joined allies to form the Observatory on the Universality of Rights (OURs). OURs is a collaborative project that monitors, analyzes, and shares information on anti-rights initiatives like “Protection of the Family”.
Rights at Risk, the first OURs report, charts a map of the actors making up the global anti-rights lobby, identifies their key discourses and strategies, and the effect they are having on our human rights.
The report outlines “Protection of the Family” as an agenda that has fostered collaboration across a broad range of regressive actors at the UN. It describes it as: “a strategic framework that houses “multiple patriarchal and anti-rights positions, where the framework, in turn, aims to justify and institutionalize these positions.”

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*Website in French

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Louise Malherbe es una comisaria y programadora cinematográfica y crítica de cine radicada en Berlín. Trabajó como programadora de cine para Metropolis Cinema Association de Beirut, y actualmente coordina el proyecto Reel Streams, el cual se orienta a apoyar la difusión del cine independiente en la región árabe. Es jefa de programación del Festival de Cine de Soura, un festival de cine queer enfocado en la región de Asia sudoccidental y Norte de África, escribe crítica de cine para Manifesto XXI y, recientemente, comenzó a desempeñarse como comisaria de cine y festivales para Cinema Akil.
The rights of the child (EU & GRULAC)
Birth registration and the right of all to recognition as a person before the law (Mexico, Turkiye)
Adequate housing as a component of the right to an adequate standard of living and the right to non-discrimination in this context (Germany, Finland)
Negative impact of unilateral coercive measures on the enjoyment of human rights (Non-Aligned Movement)
Effects of foreign debt and other international financial obligations on the enjoyment of human rights (mandate renewal) (Cuba)
Rights of persons with disabilities, digital technologies, and inclusive disability infrastructure (Mexico, New Zealand)
Rights of the child (focus: Children in armed conflict) (Uruguay on behalf of a group of States from Latin America and the Caribbean and European Union)
Right to work (Egypt, Greece)
Right to food (Cuba)
Promotion of the enjoyment of cultural rights of all and respect for cultural diversity (Cuba)
Human rights situation in the Occupied Palestinian Territory, including East Jerusalem and the obligation to ensure accountability and justice (Organisation of Islamic Cooperation)
Right of the Palestinian people to self-determination (Organisation of Islamic Cooperation)
Israeli settlements in the Occupied Palestinian Territory, including East Jerusalem and in the occupied Syrian Golan (Organisation of Islamic Cooperation)
À l’âge de six ans, j’appris que mon grand-père avait un cinéma. Ma mère me raconta comment il l’avait ouvert au début des années 1960, quand elle avait également à peu près six ans. Elle se rappelait qu’il avait projeté La Mélodie du bonheur le soir de l’ouverture...
