Young Feminist Activism
Organizing creatively, facing an increasing threat
Young feminist activists play a critical role in women’s rights organizations and movements worldwide by bringing up new issues that feminists face today. Their strength, creativity and adaptability are vital to the sustainability of feminist organizing.
At the same time, they face specific impediments to their activism such as limited access to funding and support, lack of capacity-building opportunities, and a significant increase of attacks on young women human rights defenders. This creates a lack of visibility that makes more difficult their inclusion and effective participation within women’s rights movements.
A multigenerational approach
AWID’s young feminist activism program was created to make sure the voices of young women are heard and reflected in feminist discourse. We want to ensure that young feminists have better access to funding, capacity-building opportunities and international processes. In addition to supporting young feminists directly, we are also working with women’s rights activists of all ages on practical models and strategies for effective multigenerational organizing.
Our Actions
We want young feminist activists to play a role in decision-making affecting their rights by:
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Fostering community and sharing information through the Young Feminist Wire. Recognizing the importance of online media for the work of young feminists, our team launched the Young Feminist Wire in May 2010 to share information, build capacity through online webinars and e-discussions, and encourage community building.
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Researching and building knowledge on young feminist activism, to increase the visibility and impact of young feminist activism within and across women’s rights movements and other key actors such as donors.
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Promoting more effective multigenerational organizing, exploring better ways to work together.
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Supporting young feminists to engage in global development processes such as those within the United Nations
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Collaboration across all of AWID’s priority areas, including the Forum, to ensure young feminists’ key contributions, perspectives, needs and activism are reflected in debates, policies and programs affecting them.
Related Content
Nicole Barakat




we are infinite
An exhibition by Nicole Barakat, embodying her reconnection with the diaspora of objects from her ancestral homelands in the South West Asia and North Africa (SWANA) region.
Barakat presents a collection of textile works as manifestations of her practice of engaging with displaced, and often stolen objects held within Western museum collections including the Louvre, British Museum and Nicholson Museum.
To by-pass the gatekeepers and breach the vitrines holding these ancestral objects, Barakat reclaims pre-colonial, non-linear, receptive forms of knowing that are often devalued and dismissed by colonial and patriarchal institutions - engaging with coffee cup divination, dream-work, intuitive listening and conversations with the objects themselves (source).
About Nicole Barakat

Her works include hand-stitched and hand-cut cloth and paper drawings, sculptural forms made with her own hair, cloth and plant materials as well as live work where she uses her voice as a material.
Nicole’s creative practice is rooted in re-membering and re-gathering her ancestral knowing, including coffee divination and more recently working with plants and flower essences for community care and healing.
Snippet FEA Title Main (FR)
Les Économies Féministes
QUE NOUS ADORONS
Когда будут доступны результаты опроса?
Мы проанализируем ответы, чтобы получить представление о тенденциях, и представим результаты на 15-м Международном форуме AWID в Бангкоке, а также в режиме онлайн, в декабре 2024 года. Зарегистрируйтесь для участия в Форуме здесь!
FRMag - Freeing the Church
Libérer l’église et décoloniser la bible pour les femmes de Papouasie occidentale
par Rode Wanimbo
Seigneur, nous sommes indignes. C’est nous qui avons péché car Ève a mangé le fruit dans le jardin d’Eden. (...)
< illustration : « Offrandes pour les vies Noires » par Sokari Ekine
Binta Sarr
Binta Sarr fue una activista por la justicia social, económica, cultural y política, y una ingeniera hidráulica en Senegal. Después de 13 años en la administración pública, Binta dejó ese camino para trabajar con mujeres rurales y marginadas.
Fue de este compromiso que surgió la Association for the Advancement of Senegalese Women [Asociación para el Avance de las Mujeres Senegalesas] (APROFES, por sus siglas en inglés), un movimiento y organización de base que Binta fundó en 1987. Uno de sus principales enfoques fue la formación de dirigentes, en relación no solo con las actividades económicas, sino también con los derechos de las mujeres y el acceso a los puestos de toma de decisiones.
"Las poblaciones de base deben organizarse, movilizarse, asumir el control ciudadano y exigir la gobernabilidad democrática en todos los sectores del espacio público. La prioridad de los movimientos sociales debe ir más allá de la lucha contra la pobreza y debe centrarse en programas de desarrollo articulados y coherentes en consonancia con los principios de los derechos humanos, teniendo en cuenta al mismo tiempo sus necesidades y preocupaciones tanto a nivel nacional como subregional y desde una perspectiva de integración africana y mundial". - Binta Sarr
Partiendo de la convicción de Binta de que el cambio fundamental de la condición de la mujer requiere una transformación de las actitudes masculinas, APROFES adoptó un enfoque interdisciplinario, al utilizar la radio, los seminarios y el teatro popular, además de proporcionar una educación pública innovadora y brindar apoyo cultural a las acciones de sensibilización. Su compañía de teatro popular representó piezas originales sobre el sistema de castas en el Senegal, el alcoholismo y la violencia conyugal. Binta y su equipo también analizaron la conexión crucial entre la comunidad y el mundo en general.
"Para APROFES, se trata de estudiar y tener en cuenta las interacciones entre lo micro y lo macro, lo local y lo global y también, las diferentes facetas del desarrollo. Desde la esclavitud hasta la colonización, el neocolonialismo y la mercantilización del desarrollo humano, la mayor parte de los recursos de África y del Tercer Mundo (petróleo, oro, minerales y otros recursos naturales) están todavía bajo el control de carteles financieros y las otras multinacionales que dominan este mundo globalizado". - Binta Sarr
Binta fue una de las integrantes fundadoras de la sección femenina de la Asociación Cultural y Deportiva Magg Daan. Recibió distinciones del Gobernador Regional y del Ministro de Hidrología por su "devoción por la población rural".
Nacida en 1954 en Guiguineo, un pequeño pueblo rural, Binta falleció en septiembre de 2019.
Tributos:
"La pérdida es inconmensurable, el dolor es pesado y profundo, pero resistiremos para no llorar a Binta; no lloraremos a Binta, mantendremos la imagen de su amplia sonrisa en todas las circunstancias, para resistir e inspirarnos en ella, para mantener, consolidar y desarrollar su obra..." - Página de Facebook de Aprofes, 24 de septiembre de 2019.
"¡Adiós Binta! Creemos que tu inmenso legado será preservado." - Elimane FALL , presidente de ACS Magg-Daan
Tendencias anti-derechos en los sistemas regionales de derechos humanos
Chapter 6
En la Comisión Africana y en el Sistema Interamericano, los actores antiderechos impulsan nociones esencialistas de cultura y género para impedir el avance de los derechos y socavar las responsabilidades. Como vemos, los actores anti-derechos están ejerciendo su influencia sobre los sistemas regionales de derechos humanos, así como en los espacios internacionales.

2019 JUN 27 Reunión del Grupo de Revisión de la Implementación de Cumbres en Colombia
La Comisión Africana de Derechos Humanos y de los Pueblos ha comenzado a definir a los derechos sexuales y de las mujeres como un menoscabo a su capacidad de ocuparse de los «derechos reales» y como contrarios a los «valores africanos», con lo cual se establece un precedente anti-derechos preocupante. La anulación del estatus de observador de la Coalición de Lesbianas Africanas es un ejemplo de esta tendencia y muestra la forma en que el espacio para el involucramiento feminista panafricanista está siendo restringido.
En la Organización de Estados Americanos (OEA) y en el Sistema Interamericano de Protección de los Derechos Humanos, las estrategias anti-derechos incluyen la oenegización de grupos religiosos, la utilización de discursos seculares, y la cooptación de marcos de discriminación. La influencia antiderechos se ha materializado de diversas maneras, que incluyen la intimidación de activistas trans y la obstrucción de la introducción de lenguaje progresista en las resoluciones.
Índice de contenidos
- Silenciamiento de feministas en el Sistema Africano de Derechos Humanos
- Grupos anti-derechos en América Latina: Asamblea General de la Organización de Estados Americanos (OEA) y el Sistema Interamericano de Protección de los Derechos Humanos
Josefa "Gigi" Francisco
Snippet - That Feminist Fire Logo (EN)

Membership why page - Paz Romero
"This community is a place for connections, to understand our individual fights as part of global struggles, and sometimes even dance! There aren’t places like this online where you can meet real grassroots activists from all over the world and build solidarity and sisterhood."
- Paz Romero, Argentina
FRMag - Ashawo Work na Work
“Ashawo Work na Work”: How Young Ghanaian Feminists Are Making Feminist Futures A Reality
by Fatima B. Derby
In 2017, the AWID #PracticeSolidarity campaign highlighted how young feminists could build feminist futures by showing up for one another, being in cross-regional conversations with one another, marching in solidarity with other activists and collaborating between movements. (...)
< artwork: “Let it Grow” by Gucora Andu
Laurie Carlos
Laurie Carlos était une comédienne, réalisatrice, danseuse, dramaturge et poétesse aux États-Unis. Artiste hors pair et visionnaire, c’est avec de puissants modes de communication qu’elle a su transmettre son art.
« Laurie entrait dans la pièce (n’importe quelle pièce/toutes les pièces) avec une perspicacité déroutante, un génie artistique, une rigueur incarnée, une féroce réalité – et une détermination à être libre... et à libérer les autres. Une faiseuse de magie. Une devineresse. Une métamorphe. Laurie m’a dit un jour qu’elle entrait dans le corps des gens pour trouver ce dont ils et elles avaient besoin. » - Sharon Bridgforth
Elle a employé plusieurs styles de performance alliant les gestes rythmiques au texte. Laurie encadrait les nouveaux·elles comédien·ne·s, performeur·euse·s et dramaturges, et a contribué à développer leur travail dans le cadre de la bourse Naked Stages pour les artistes émergent·e·s. Associée artistique au Penumbra Theatre, elle a participé à la sélection de scripts à produire, dans l’objectif « d’intégrer des voix plus féminines dans le théâtre ». Laurie faisait également partie des Urban Bush Women, une compagnie de danse contemporaine reconnue qui contait les histoires de femmes de la diaspora africaine.
Elle fit ses débuts à Broadway dans le rôle de Lady in Blue, en 1976, dans la production originale et primée du drame poétique For colored girls who have considered suicide / when the rainbow is enuf de Ntozake Shange. L’oeuvre de Laurie inclut White Chocolate, The Cooking Show et Organdy Falsetto.
« Je raconte les histoires à travers le mouvement – les danses intérieures qui se produisent spontanément, comme dans la vie – la musique et le texte. Si j’écris une ligne, ce n’est pas forcément une ligne qui sera dite ; ce peut être une ligne qui sera bougée. Une ligne à partir de laquelle de la musique est créée. Le geste devient phrase. Tant de ce que nous sommes en tant que femmes, en tant qu’êtres, tient aux gestes que nous exprimons les un·e·s par rapport aux autres, tout le temps, et particulièrement dans les moments d’émotion. Le geste devient une phrase, ou un état de fait. Si j’écris “quatre gestes” dans un script, cela ne signifie pas que je ne dis rien;cela veut dire que j’ai ouvert la voie à ce que quelque chose soit dit physiquement. » Laurie Carlos
Laurie est née et a grandi à New York, a travaillé et vécu à Minneapolis-Saint-Paul. Elle est décédée le 29 décembre 2016, à l’âge de 67 ans, après un combat contre le cancer du côlon.
Hommages :
« Je pense que c’était exactement l’intention de Laurie. De nous sauver. De la médiocrité. De l’ego. De la paresse. De la création artistique inaboutie. De la paralysie par la peur.
Laurie voulait nous aider à briller pleinement.
Dans notre expression artistique.
Dans nos vies. » - Sharon Bridgforth pour le Pillsbury House Theatre
« Quiconque connaissait Laurie aurait dit que c’était une personne singulière. Elle était sa propre personne. Elle était sa propre personne, sa propre artiste ; elle mettait en scène le monde tel qu’elle le connaissait avec un vrai style et une compréhension fine, et elle habitait son art. » – Lou Bellamy, Fondatrice de la Penumbra Theatre Company, pour le Star Tribune
Lire un hommage complet par Sharon Bridgforth (seulement en anglais)
S'inscrire à la liste de diffusion
Kalpana Chakma
Snippet Forum Stories Gen Intro (FR)
Que représentent les Forums de l’AWID pour celles et ceux qui y ont assisté ? Quelle est cette magie qui opère lorsque des féministes du monde entier se rassemblent pour célébrer, élaborer des stratégies, apprendre et partager leurs joies ?
L’AWID s’est entretenue avec plus de quarante participant·es aux Forums pour connaître le récit de leur transformation personnelle en tant qu’activistes, celle de leur organisation et des mouvements auxquels elles et ils appartiennent. Elles et ils nous ont également dit ce que nous devrions conserver et renforcer pour les prochains Forums, ce qui distingue les Forums de l’AWID, et ce que nous pouvons améliorer.
Ce rapport contient des enseignements et d’inestimables conseils pour toute personne prévoyant d’organiser des rassemblements régionaux et thématiques en personne, et pour nous-mêmes alors que nous planifions le 15e Forum international de l’AWID.
Faites défiler pour en savoir plus!
Forum Homepage Banner
Inscrivez-vous au Forum !
Se rassembler à l’échelle mondiale, en tant qu’individus et mouvements, nous permet de générer une force considérable. Rejoignez-nous à Bangkok, en Thaïlande et en ligne en décembre 2024.
FRMag - The Story of An Unhappy Tale
Historia de un cuento no feliz
por Gabriela Estefanía Riera Robles
Juliana. ¡Cómo quisiera llamarme Juliana! Es un nombre lleno de poder y presencia, lleno de fuerza y vehemencia. (...)
< arte: «Born Fighters», Borislava Madeit y Stalker Since 1993
Roxana Reyes Rivas
Roxana Reyes Rivas, philosopher, feminist, lesbian, poet, politician and LGBT and women’s rights activist from Costa Rica. Owner of a sharp pen and incisive humour, a laugh a minute. She was born in 1960 and raised in San Ramón of Alajuela, when it was a rural town, and her whole life she would break away from the mandates of what it meant to be a woman.
With El Reguero (Costa Rican lesbian group) she organized lesbian festivals for over a decade, fun-filled formative spaces to come together at a time when the Costa Rican government and society persecuted and criminalized the lesbian existence. For hundreds of women the lesbian festivals where the only place they could be themselves and come together with others like them.
Roxana would often say founding political parties was one of her hobbies. “It’s important for people to understand there are other ways to do politics, that many issues need to be solved collectively”. She was one of the founders of the New Feminist League and VAMOS, a human rights focused political party.
“The philosophical trade is meant to jab, to help people ask themselves questions. A philosopher who doesn’t irritate anyone is not doing her job”. For 30 years Roxana taught philosophy at several Costa Rican public universities. Through her guidance, generations of students reflected about the ethical dilemmas in science and technology.
Roxana’s favourite tool was humour, she created the Glowing Pumpkin award, an acknowledgement to ignorance that she would bestow upon public figures, through her social media channels, mocking their anti-rights expressions and statements.
An aggressive cancer took Roxana at the end of 2019, before she could publish a compilation of her poems, a departing gift from the creative mind of a feminist who always raised her voice against injustice.
A Joy to the World: Six Questions with Naike Ledan
Interviewed by Chinelo Onwualu

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Naike Ledan is a social justice defendant, a committed feminist that brings forward 20 years of experience in human rights and health justice advocacy, women’s empowerment, the fight for universal access to basic services and social inclusion, as well as civil society capacity building. She has built extensive work in Canada, West and southern Africa, as well as in Haiti, in civil rights advocacy, capacity building for CSOs, while emphasising the social determinants of structural exclusion. She values the principles of shared leadership, anticolonial, anti-oppressive, and anti-patriarchal spaces. |

Chinelo You’re billed as a trans rights activist; I’m curious about how you made that journey.
Naike So, I grew up in Haiti until I was 18, then I lived in Montreal for 19 years. Coming back to Haiti in 2016, I thought I would be coming back home, but the place had changed and I had to readjust. I did not necessarily reconnect in the way that I’d expected to with childhood family and friends. I came back as an expat with a comfortable work situation, and I felt very much like a foreigner for a very long time. And at the same time, I felt very much at home because of the language, the understood silence, the not having to explain when we start singing a commercial – you know, that thing we share, that energy, that space, that spirit.

What helped me was, I loved the work of going into the country and documenting people’s knowledge. So I left the comfort. I became a country director of a regional organisation that was queer as fuck! Most of my work was to find resources and build the capacity of civil society. My strategy was to go into the countryside, look for all these little organizations, help build their capacity, and fund them. I was not interested in politicians and shaking hands and taking pictures
Chinelo Tell me about the workshop you conducted with AWID for the festival. What was it about and what was the context?

Naike International media doesn’t really talk about Haiti, but with a political environment that is as bad as ours, the economic environment is even more catastrophic. Being a more middle class Haitian, speaking different languages, having different passports, I was initially hesitant to take the space. But I often see myself as a bridge more than someone that would talk about themself. That is how I came to invite Semi, who is a brilliant young trans woman from outside Port-au-Prince, to take the space to talk for herself and walk us through the ecosystem of the realities for trans women in Haiti. We ended up building a session about uninclusive feminism – or, I would say, formal feminist spaces – and how trans girls in Haiti do not have spaces where they can contribute to women’s knowledge and sharing of women’s realities. So the AWID festival was the opportunity for me to give the space to the women who should have it. We had a wonderful time; we had wine online while hosting the conversation. My co-facilitator, Semi, shared what it is like to be a trans child/girl/woman at different stages of her life. She also shared the dangers of the street, of poverty, of exclusion, of “not passing,” and her victories as well.
Chinelo What is the relationship of trans women to feminist organizations in Haiti? What has been your experience with that?
Naike It’s been really hard – heartbreaking, actually – the experience of trans women in Haiti. From not existing at all to just being extremely sexualized. The other thing that’s been happening is how they’re being killed, and how those killings have gone unreported in the media. This is how non-existent, how erased trans women are. They’re everywhere but not in job settings, not in feminist settings, not in organizational settings. Not even in LGBT organizations. It’s only recently, and because of a lot of advocacy push, that some of these organization are kind of readjusting, but in feminist spaces, this is still out of the question. We are still having to deal with the old exclusionary discourse of “They’re not women. Of course, if they can pass…” The culture of passing, it’s a risk management conversation – how much you pass and how much you don’t pass and what it means for your body and the violence it inflicts. In the trans-exclusionary realities we live in, which are reproduced in a lot of feminist spaces, those that pass completely may be considered girls, but only to a certain extent. But how about falling in love, how about having a conversation, how about being in the closet, how about wanting a certain aesthetic, or a career? So really, the conversation about hormone therapy becomes about risk reduction, as Semi herself shared at the workshop. But we don’t have the option of hormone therapy, we don’t have the medical framework nor the system to support those who would like to pursue that option.
Chinelo When you talk about the way that trans people and queer people are thought of in society, it sounds like it might be similar to Nigeria, which can be a deeply homophobic environment.
Naike Haiti is a very complex country in a very beautiful way. Nothing is simple, you know, nothing is ever one way. Haitians are very tolerant – and they’re also very homophobic. You’re going to find regions in the countryside where people aren’t that homophobic at all because all the Vodou temples there, and this is a religion that respects life. One basic principle of the Vodou religion is that all children are children. So, there is no right or wrong in the religion. For the longest time, people thought of Haiti as a haven, a place where people are tolerant – we’re talking 70s, 80s, pre-HIV, 90s even. Then you had the earthquake [in 2010] where around 300,000 people died. And then all this money came from the south of the US through the Evangelicals to rebuild the country and find Jesus. So, the homophobia in Haiti is very recent. In the depth, in the heart of the soul of the culture, I cannot really say that it is homophobic. But in the everyday life, it surely lands on the skin of queer people, that violence. And that of women, of poor women, of dark women as well, because colorism runs deep in the Caribbean.
Chinelo How have you managed this? What’s been your strategy for survival?

Naike I’m really in love with my work. I love working. When I first arrived, I was working with this horrible NGO but I was doing amazing work. I was always in the countryside, conversing and learning from people, from women. And that filled my heart for so long because I’m very much in love with my culture, with black people, with black women – old black women, black babies. It just fills me up in a spiritual way. When we were in Canada my kids were in these all-white schools and tokenized. They did not speak Creole nor French. And now, they’re running free in the yard and starting to fight in Creole. I also found hubs of survival with the people I met. I created bonds with the queers and others who were weirdos like me and it’s been really wonderful. But now I’m struggling because I don’t feel safe in Haiti anymore. We have about 40 kidnappings per week in Port-Au-Prince – and it’s been like that since 2018. I’ve developed anxiety and panic attacks. So It’s time to go, and I’ve been asking myself, “where is home?” I spent 19 years in Montreal but I never felt at home there. When I left, I never missed it so I don’t want to go back. I’ve been crying a lot lately because it feels like entering a second exile.
Chinelo What’s your relationship to pleasure, leisure, and rest?
Naike My relationship with pleasure, leisure, and rest are for me one and the same. It is the lived moment when I indulge in the heat of the sun on my face for example. It is pleasure, leisure, and rest at the same time.
Pleasure: My go-to space, most solely a haven of celebration of myself. I reserve myself the power and the right to be loud or quiet in the enjoyment of the pleasure I experience. All the pleasure I viciously and abundantly indulge in, including and not limited to the pleasure of solitude and silence.
Leisure: biking, music festivals, eating, wine discoveries, dancing in Haitian traditional Vodou dances are amongst many that occur at the moment.
Rest: is what I live for. As an overachiever and a person that is literally in love with work, it is a paradox how lazy I am. No one knows that because all of what the world sees is this: an accomplished overworker. They do not know how I can just, uncompromisingly and profoundly indulge in idleness.

Explore Transnational Embodiments
This journal edition in partnership with Kohl: a Journal for Body and Gender Research, will explore feminist solutions, proposals and realities for transforming our current world, our bodies and our sexualities.

التجسيدات العابرة للحدود
نصدر النسخة هذه من المجلة بالشراكة مع «كحل: مجلة لأبحاث الجسد والجندر»، وسنستكشف عبرها الحلول والاقتراحات وأنواع الواقع النسوية لتغيير عالمنا الحالي وكذلك أجسادنا وجنسانياتنا.
