By Rode Wanimbo (@rodwan986), Jayapura, Papua Province of Indonesia

“Lord, we are unworthy. We are the ones who committed sin for Eve ate the fruit in Eden. We are just women who grow sweet potatoes, look after pigs and give birth to children. We believe you died on the cross to set us free. Thank you, In Jesus’s name Amen.”

This is a typical prayer of women I have heard during my visits to ministries in several villages. Even I said the same prayer for many years.

I was born and grew up in Agamua, the Central Highlands of West Papua. My father belongs to the Lani tribe and my mother comes from Walak.

In Lani and Walak languages - languages spoken in the Central Highlands - tiru means a pillar. There are four tiru (pillars) standing firmly in the middle of the Lani roundhouse (honai), around wun’awe or a furnace. Tiru is always made of the strongest type of wood called a’pe (ironwood tree). The longer the wood gets heated and smoked from the fire in the honai, the stronger it becomes. Without tiru, the honai cannot stand firm. West Papuan women are these tiru.

West Papua is located in the western part of the New Guinea island, containing some of the world’s highest mountains, densest jungle, and richest mineral resources. It is home to over 250 groups and has an incredible biodiversity. Due to its natural wealth, West Papua has, over the centuries, been targeted by foreign occupiers. Until 1963, we were colonized by the Dutch. However in 1969, after a manipulative political act, we were transferred from the Dutch to Indonesia. 

The first German missionaries arrived in Mansinam Island, Manokwari, in 1855. Then, in the 1950s, Christianity was brought to the Central Highlands of West Papua by Protestant missionaries of European descent from America, Canada, Australia and New Zealand.  

According to Scripture in Genesis 1: 26-27, Man and Woman are created in the image of God. It means all humanity is made with the call and capacity to exercise dominion. Radah, the Hebrew word for dominion, means stewardship. Radah is not a call to exercise imperial power as declared by Pope Nicolas V, granting Catholic nations the right to “discover” and claim dominion over non-Christian lands. To diminish the capacity of humans to exercise dominion, is to diminish the image of God on earth (Lisa Sharon Harper, The Very Good Gospel).

The Evangelical Church of Indonesia (GIDI) was established as an institution in 1963. In the Sunday Service liturgy of GIDI, Women are considered unworthy to take any responsibility except collecting offerings. In 2003, after 40 years, the Department of Women was introduced within the structure of the Synod leadership.

In November 2013, I was entrusted to be a chairperson of the Women’s Department of the GIDI Synod.

Together with several other women leaders, we started a cell group that is committed to “decolonizing the Bible.” We learn together how to reconstruct the interpretation of biblical texts to champion women.

A feminist theologian named Elisabeth S Florenza calls it a feminist hermeneutic theory (Josina Wospakrik, Biblical Interpretation and Marginalization of Woman in the Churches of West Papua).

Besides the cell group, we interview our elderly women to collect our ancestors’ wisdom and values. As Bernard Narakobi in his book The Melanesian Way said: “Our history did not begin with contact with the Western explorers. Our civilization did not start with the coming of the Christian missionaries. Because we have an ancient civilization. It is important for us to give proper dignity and place to our history”.

Yum is a knotted net or woven bag handmade from wood fiber or leaves. Yum is highly valued for it symbolizes life and hope. When women of Lani and Walak get married, our maternal aunts put yum on our heads. It means we bear the responsibility for giving life and for providing food. Yum is used to carry garden produce as well as being used as a container to put a baby to sleep in as it gives warmth and a sense of security.

“West Papuan Women are Yum and Tiru” became the prime references as we contextualized women in the eyes of Jesus Christ in seminar and focus group discussions. From 2013 to 2018, we focused on reconstructing the view of women in GIDI and in gaining a healthy self-image. We are still in the process of understanding who we are to Jesus, rather than who we have been told we are by theologians and the fathers of the early Churches. Josina Wospakrik, a West Papuan Theologian said “The Gospel is incredibly rich but it was impoverished due to human ambitions and agendas.”

Since 2018, the GIDI Women Leadership team and I have formulated four priority programs: Decolonizing the Bible, Storytelling in a circle, Training of trainers for Literacy and Gender. The fourth, supported simple bookkeeping and savings groups workshops facilitated by Yapelin and Yasumat, which are faith based organizations established by GIDI leaders to reach the economic, social and health needs of women in the communities.

Storytelling in a Circle

In this programme we create a safe space for women to talk - each woman has a story. We all sit together and learn how to be good listeners.

“I became Christian and was taught that the government is God’s representative. Why did the government do nothing when the army burnt down my village and killed my relatives?” asked one woman in the storytelling circle. “My aunt was raped.” She stopped for a while. Could not talk. She cried. We all did. 

The process of storytelling has driven us into deep conversation. We began to contextualize Biblical texts within our daily realities.

We started asking questions amongst ourselves: Where is God in our toughest times? Does the state government truly represent God on earth? Why does the Creator allow privileged people to destroy His own image in the name of Christianity and Development? During the process, I realized that I have been reading the Bible using somebody else’s glasses.

The church has to be a safe place to share stories and be a place of comfort to be still and rest. As we reflect on the testimonies, those who tell their stories begin the process of recovering from wounds and trauma.

Financial Literacy for Women

 Culturally, West Papuans invest in relationships. The concept of saving is understood as an investment in relations, not in a bank account. And while the Indonesian central government has granted special autonomy to respond to West Papuans’ demand for self-determination, many government policies harm the quality of family life and they do not account for women’s lives. High illiteracy rates amongst women mean most women do not have access to a bank account. With no money saved, access to medical services becomes a struggle. 

Through the priority programmes, Yapelin, with the active involvement and support of women, created saving groups in Bokondini and Jayapura. The saving groups are chaired by women who have access to a bank. 

In coordination with Yayasan Bethany Indonesia (YBI) and Yayasan Suluh, a faith-based organization (FBO) based in Jayapura, we facilitated four literacy workshops. The literacy team facilitated the training of trainers in three different dioceses: Merauke, Sentani, and Benawa. We now have 30 facilitators in different congregations who run literacy programs.

Lack of financial support for our programs will not stop us. Being stigmatized as rebels will not stop us from standing up and speaking in church evaluation meetings and conferences. It is stressful but I am committed together with several women leaders to calling on the power-holders within to free the church.

The Gospel known as Good News should become news that liberates women from a very patriarchal circle of power, liberates women from social stigma and returns women to the original purpose of The Creator.

The Gospel must be a mirror to reflect who we are collectively. As Lisa Sharon Harper, in her book The Very Good Gospel said “The Gospel is not only about an individual’s reconciliation with God, self and communities. But also speaks on systemic justice, peace between people groups and freedom for the oppressed”. 

Rode Wanimbo is the chairperson of the Women’s Department of Evangelical Church of Indonesia (GIDI).
 

“Offerings for Black Life”

By Sokari Ekine (@blacklooks), New Orleans

Coming from a place of healing and self-care is a political act that guides us to be focused and to move as one. In New Orleans, we created and will be creating altars in honour of those murdered by police and white supremacists vigilantes!

< Anatomy of a Survivor's Story

My Queer Ramadan >

ان كنت نسوية عن حق، فإنك سترفضين التحقير الموجّه ضد الممارسات الجنسية الغرائبيّة

تَلفَزَتُنا للثورة تحت حزامك مشروطة بطبيعة رغباتك

¡Bienvenidxs a Crear | Résister | Transform: un festival para movimientos feministas!

Principios de participación para el Festival

AWID está comprometida con la creación de un espacio virtual que nos invite y desafíe a todxs a funcionar desde un lugar de valentía, curiosidad, generosidad y responsabilidad compartida.
 
Te invitamos a crear conjuntamente con nosotrxs espacios libres de acoso y violencia, donde todas las personas sean respetadas en su identidad y expresión de género, raza, capacidad, clase, religión, idioma, etnia, edad, ocupación, tipo de educación, sexualidad, tamaño corporal y apariencia física. Espacios donde reconozcamos las desigualdades que prevalecen en nuestro mundo, y nos esforcemos por transformarlas.

Queremos crear un espacio donde:

•  podamos estar “presentes”:

Esto significa escucharnos, comprendernos y vincularnos. Sentirnos cerca, a pesar de la virtualidad. Para eso, contaremos con interpretación y abriremos canales (como el chat y otras herramientas) para reaccionar y compartir. Para lograr escucharnos mejor, les invitamos a utilizar audífonos o auriculares durante la sesión. Si puedes hacerlo, te sugerimos cerrar tus correos electrónicos y cualquier otra posible distracción mientras estás en la conversación. 

• todas las formas de conocimiento son valoradas:

Celebremos los distintos saberes y  las múltiples formas en que estos se expresan. Nos acercamos al espacio con curiosidad y apertura para aprender de otrxs y permitiéndonos desaprender y reaprender a partir del intercambio, sentando las posibilidades para la construcción colectiva de conocimiento. 

• todxs nos sintamos bienvenidxs:

Estamos comprometidxs con un enfoque holístico de la accesibilidad, conscientes de las diferentes necesidades físicas, mentales, de idioma y de seguridad. Queremos un espacio que acoja a gente de contextos, creencias, capacidades y experiencias diversas. Seremos proactivxs, pero también te pedimos que nos comuniques tus necesidades, para que, dentro de nuestras posibilidades, nos ocupemos de satisfacerlas.

• todxs nos sintamos segurxs y respetadxs:

Asumimos compromisos individuales y colectivos de respetar la privacidad y contar con el consentimiento de otrxs para difundir imágenes o contenido generado durante la conversación. 

Crear un ambiente más seguro, respetuoso y disfrutable para las conversaciones es responsabilidad de todxs.

Cómo reportar

Si notas que alguien se está comportando de forma discriminatoria u ofensiva, por favor, contacta a la persona de referencia que se indicará al comienzo de la sesión.
 
Cualquier participante que se exprese con lenguaje opresivo o imágenes ofensivas será eliminadx de la videoconferencia y no será admitidx nuevamente. No interactuaremos con esa persona de ninguna manera.

Upasana Agarwal

Upasana is a non binary illustrator and artist based out of Kolkata, India. Their work explores identity and personal narratives by using a visual remnant or evidence of the contexts they work with. They are especially drawn to patterns which to them communicate complex truths about the past, present and future. When Upasana is not illustrating they organise and run a queer and trans community art centre in the city. 

Upasana’s Exhibition

À propos d’Upasana Agarwal

En asociación con activistas feministas jóvenes y organizaciones lideradas por jóvenes, AWID está organizando, en forma autónoma, Beijing Sin Ataduras, en paralelo con Beijing+25. 

Leer más

Chapter 5

Anti-rights actors adopt a double strategy. As well as launching outright attacks on the multilateral system, anti-rights actors also undermine human rights from within. Anti-rights actors engage with the aim of co-opting processes, entrenching regressive norms, and undermining accountability.

Anti-rights actors’ engagement in international human rights spaces has a principal purpose: to undermine the system and its ability to respect, protect and fulfill human rights for all people, and to hold member states accountable for violations. Some anti-rights tactics operate from outside the UN and include delegitimization and political pressure to defund the UN, or to withdraw from international human rights agreements.  In recent years, anti-rights actors have also gained increasing influence inside the UN. Their inside tactics include training of delegates, distortion of human rights frameworks, watering down human rights agreements, infiltrating NGO committees, applying for ECOSOC status under neutral names, infiltrating youth spaces, and lobbying to place anti-rights actors in key positions.

Table of Contents

• Institutionalization of Anti-rights Actors in UN Mechanisms
• Opting-out and Delegitimization
• Lowering HR Standards
• Co-optation - Building a Parallel HR Framework
• Exercise: Yes, they are strong, but so are we!
• Exercise: Holding Governments Accountable
   

Read Full Chapter >

Numéro de danse d’ouverture

Par Pia Love

Una experiencia mágica de narración feminista conducida por la feminista panafricana Coumba Toure, quien actuará en la antigua tradición de lxs griots de África Occidental.

Y nos reunimos nuevamente
Juntamos nuestras historias, nuestra fuerza
nuestras canciones
nuestras lágrimas
nuestra ira
nuestros sueños
nuestro éxito
nuestros fracasos
Y lo colocamos todo junto
en un gran cuenco para compartir
durante una luna de pensamientos
Y nos mantenemos en contacto
nos sacudimos las mentes unas a otras
nos acariciamos las almas 
mientras nuestras manos siguen atadas
y nuestros besos y abrazos están prohibidos
Sin embargo, nos hacemos más fuertes cada hora
entretejiendo juntas nuestras voces
cruzando las barreras del sonido
mientras hablamos en lenguas
 
Nuestras voces son cada vez más altas
Sabemos lo que nos diferencia de otras personas
y entre nosotras, de modo que
estamos bordando nuestras bellezas en un mosaico de pensamientos
desde nuestros aprendizajes más profundos, desde nuestros poderes
A veces nos rodea el terror
la confusión, la deshonestidad
pero nos lavamos en el océano de amor
Somos tejedoras de sueños
para vestir nuestro nuevo mundo
hilo por hilo
tan pequeñas como somos
como pequeñas hormigas construyendo nuestro movimiento
comopequeñas gotas construyendo nuestros ríos
Damos pasos hacia adelante y pasos hacia atrás
bailando nuestro camino de vuelta a la cordura
Sostenemos el ritmo de nuestros corazones: sigan
latiendo, por favor, no se detengan
Y aquí estamos, transmisoras de generosidad olvidada
gota tras gota creciendo como el océano
creciendo como el río que fluye de nuestras almas
mostrando nuestra fuerza para ser el agua
que limpiará este mundo
y nos estamos reuniendo nuevamente ¿pueden sentirnos?
Mentiría si dijera que para mí
está bien no verlas, extraño a mi gente
Extraño su contacto y
sus voces sin filtro y sin registro
Extraño nuestros susurros y nuestros alaridos
nuestros gritos de la revolución abortada
Solo queremos parir nuevos mundos
Entonces luchemos para borrar las fronteras entre nosotras
Por favor, no se detengan

Caribbean Feminist Spaces, Creative Expressions & Spiritual Practices for Community Transformation

Tonya Haynes, CAISO
Angelique V. Nixon, CAISO

Jurema Araújo is a teacher-poet from Rio de Janeiro. She contributed to the magazine Urbana, edited by the poets Brasil Barreto and Samaral (RIP) and to the book Amor e outras revoluções (Love and Other Revolutions) with several other writers. In collaboration with Angélica Ferrarez and Fabiana Pereira, she co-edited O livro negro dos sentidos (The Black Book of Senses), a creative anthology on black women’s sexuality in Brazil. Jurema is 54-years-old; she has a daughter, three dogs, a cat, and many friends.

Introducing The Black Book of Senses

I’ll admit it: when Angélica and Fabi invited me to curate a collection of erotic texts by black women, I didn’t know what curatorship was. I understood the erotic well, but curatorship... I smiled, feeling shy and flattered. I think I thanked them – at least I hope I did – and thought to myself: what the fuck is it?! This fancy word I’ll have to learn the meaning of while doing it, what is it?

Now at this point, I know what it is to be a curator: it is making love with someone else’s texts, with someone else’s art, with the intention of putting a book together. And that is exactly what I did. I undressed each text of every author of this book with a literary lasciviousness. And I got involved in the words and senses of others. I was penetrated by poems I didn’t write; tales I didn’t even dare to imagine turned me upside down, messing with my feelings, with my libido. And it was a wonderful and unusual orgasm: ethereal, corporeal, sublime, at once intellectual and sensitive.
These texts pulsated like a clit hardened by desire, drenched, dripping joy in every reading. Words that swallowed me with their naughty significance, making me dive deeper into this wet universe. 

These black women went to the bottom of their arousals and turned their deepest erotic fantasies into art. These works are impregnated with each writer’s own way of experiencing sexuality: freely, blackly, for ourselves, in our own way, empowered.

I chose to spread the texts throughout different parts of the book, each one organized according to the most delicate, explosive, evident, or implicit content they presented.

To open the door to this “invulved blackessence,” we have our Preliminaries section, with texts that introduce readers to this world of delights. It is a more general, delicate caress to acknowledge the subjects addressed by the texts in the rest of the book.

Then comes the heat of Touch, addressing what the skin can feel. That energy which burns or freezes our bodies, makes our hormones explode and starts to awaken the other senses. And although there are many of us who are voyeurs, the contact of skin with a wet and warm mouth is exciting, like wandering through the softness of whomever is with you. We are seduced by the firm or gentle touch that gives us goosebumps and that lovely discomfort that runs from the neck down to the back and only stops the next day. And the warmth of the lips, the mouth, the wet tongue on the skin – oh, the tongue in the ear, hmmm – or skin on skin, clothes moving over the body, almost like an extension of the other’s hand. If there is no urgency, that wildest arousal of the pressure of a tight grab, a bit of pain – or a lot, who knows?

The Sound – or melody? – section shows us that attraction also happens through hearing: the voice, the whispers, the music that enables the connection between the bodies and can become the theme of desire. For some of us, someone with a beautiful voice would only need their vocal cords, because that harsh or heavy or melodious sound would be auditory sex. Their loud swearing or sweet words whispered in the ear would be enough to give us hair-raising shivers from neck to coccyx.

In Flavor, we know the tongue does a good job tasting the most hidden places and wandering through the body to delight itself. Sometimes this organ is used, boldly, to taste the other’s nectar. The idea of someone sharing their strawberry or a delicious, juicy mango through bites and licks – or licks and bites – melts us. But nothing is more delicious than tasting the caves and hills of the person you are with. Stick your tongue deep inside to taste a piece of fruit... or spend hours tasting the head of a cock in your mouth, or suck on a delicious breast to taste the nipples. This is all about memorizing someone by their Flavor.

There are texts in which the nose is what triggers desire. The Smell, my dear readers, can awaken us to the delights of desire. Sometimes we meet a person who smells so good, we want to swallow them right through our nose. When you run through the other person’s body with your nose, starting with the neck – wow, that delightfully uncomfortable shiver that runs down the spine and undresses the soul! The shameless nose then moves to the back of the neck and captures the scent of the other in such a way that in the absence of that person, smelling their same scent evokes, or conversely, invades in us olfactory memories that bring the arousing smell of that person back.

We then get to Look – for me, the betrayer of senses – in which we perceive desire from a point of “view.” It is through sight that the texts present desire and arousal, through which the other senses are brought about. Sometimes a smile is all it takes to drive us crazy. The exchange of glances? That look that says “I want you now.” That look of possession that comes to an end when you stop fucking, or not. That one is very particular; it draws the other who won’t be able to look away for long. Or the sidelong glance – when one looks away when the other turns their head, like a cat-and-mouse game? Once we are caught red-handed, there’s nothing else to do besides breaking into a wide smile.

Finally, the explosion. Wandering through All senses, the texts mix feelings that seem like an alert, so there is the greatest pleasure, that orgasm.

Of course, there is nothing explicitly separating these poems and tales. Some are subtle. Arousal engages all our senses and, most importantly, our heads. That’s where it happens, and it connects our whole body. I organized the poems according to how they came to me in each reading. Feel free to disagree! But to me, there is a sense through which desire goes and then explodes. Realizing which one it is, is delightful. 

Being able to turn arousal into art means freeing ourselves from all the prejudice, prisons, and stigma this white-centric society has trapped us in.

Every time a black writer transforms the erotic into art, she breaks these harmful racist chains that cripple her body, repress her sexuality, and turn us into the object of another’s greed. Writing erotic poetry is taking back the power over her own body and roaming fearlessly through the delights of desire for herself, for others, for life.

The literary erotic is who we are when turned into art. Here we show the best of us, our views of love drenched by pleasure, seasoned by the erogenous, spread through our bodies, and translated by our artistic consciousness. We are multiple and we share this multiplicity of sensations in words dripping with arousal. Yes, even our words drip with our sexual desire, drenching our verses, turning our sexual urges into paragraphs. To come, for us, is a breakthrough.

It is necessary to make our minds, bodies, and sexuality black, to reestablish our pleasure, and take back our orgasms. Only then will we be free. This whole process is a breakthrough, and it happens painfully. But there is happiness in finding ourselves to be very different from where we had been placed. 

I feel like I am yours, I am ours. Taste, delight yourselves, feast on these beautiful words with us. 

This text is adapted from the introductions to “O Livro Negro Dos Sentidos” [The Black Book of Senses], an erotic collection of poems by 23 black female writers.