In September 2016, the 13th AWID international Forum brought together in Brazil over 1800 feminists and women’s rights advocates in a spirit of resistance and resilience.
This section highlights the gains, learnings and resources that came out of our rich conversations. We invite you to explore, share and comment!
What has happened since 2016?
One of the key takeaways from the 2016 Forum was the need to broaden and deepen our cross-movement work to address rising fascisms, fundamentalisms, corporate greed and climate change.
With this in mind, we have been working with multiple allies to grow these seeds of resistance:
Movements can also benefit from new methodologies on Visioning Feminist Futures (Coming up soon!)
And through our next strategic plan and Forum process, we are committed to keep developing ideas and deepen the learnings ignited at the 2016 Forum.
What happens now?
The world is a much different place than it was a year ago, and it will continue to change.
The next AWID Forum will take place in the Asia Pacific region (exact location and dates to be announced in 2018).
We look forward to you joining us!
About the AWID Forum
AWID Forums started in 1983, in Washington DC. Since then, the event has grown to become many things to many peoples: an iterative process of sharpening our analyses, vision and actions; a watershed moment that reinvigorates participants’ feminisms and energizes their organizing; and a political home for women human rights defenders to find sanctuary and solidarity.
Ghiwa Sayegh is an anarcha-queer writer, independent publisher, and archivist. She is the founding editor of Kohl: a Journal for Body and Gender Research and the co-founder of Intersectional Knowledge Publishers. She has an MA in gender studies from Université Paris 8 Vincennes – Saint-Denis. She is passionate about queer theory, transnational circulations, and imagined or unknown histories. Her influences are Audre Lorde and Sara Ahmed.
Mirna Teresa Suazo Martínez faisait partie de la communauté garifuna (afro-descendante et autochtone) Masca et vivait sur la côte nord des Caraïbes du Honduras. Elle était leader de sa communauté et fervente défenseure du territoire autochtone, une terre qui a été violée le jour où l'Institut national agraire du Honduras a accordé des licences territoriales à des personnes extérieures à la communauté.
Ce fait déplorable a été à l'origine de harcèlements, d'abus et de violences répétés contre Masca, où les intérêts économiques de différents groupes se sont heurtés à ceux des forces armées et des autorités honduriennes. Selon l'Organisation fraternelle noire du Honduras (OFRANEH), la stratégie de ces groupes consiste à expulser et exterminer la population autochtone.
« Masca, la communauté garifuna située près de la vallée du Cuyamel, se trouve dans la zone d’influence de l’une des villes présumées modèles, une situation qui a déclenché des pressions territoriales le long de la côte garifuna. » - OFRANEH, 8 septembre 2019
Mirna Teresa, présidente du conseil d'administration de la communauté de Masca à Omoa, avait elle aussi fermement rejeté la construction de deux centrales hydroélectriques sur la rivière Masca, qui porte le même nom que sa communauté.
« La communauté garífuna attribue l'aggravation de la situation dans leur région à son opposition à l'exploitation touristique, à la monoculture de palmiers africains et au trafic de drogue, tandis qu'elle cherche parallèlement à construire une vie alternative au travers de la culture de la noix de coco et d'autres produits d'autoconsommation ». - Voces Feministas, 10 septembre 2019
Mirna Teresa a été assassinée le 8 septembre 2019 dans son restaurant « Champa los Gemelos ».
Elle est l'une des six femmes défenseures garifunas à avoir été assassinées rien qu'entre septembre et octobre 2019. Selon l'OFRANEH, les autorités n'ont pas mené d'enquête sur ces crimes.
« En ce qui concerne les communautés garífuna, une grande partie des homicides sont liés au régime foncier et à la gestion des terres. Cependant, les querelles entre les organisations criminelles ont abouti à des meurtres, à l’instar de ceux ayant eu lieu récemment à Santa Rosa de Aguán ». - OFRANEH, 8 septembre 2019
La montée en puissance des antidroits a préparé son terrain. Nous devons comprendre la montée de l’ultranationalisme, du pouvoir incontrôlé des entreprises, de la répression croissante et de l’amenuisement de l’espace civique pour contextualiser les menaces actuelles contre nos droits.
“I do not know a lot about spirituality or what happens when we die, but my crip queer Korean life makes me believe that our earthly bodyminds is but a fraction, and not considering our ancestors is electing only to see a glimpse of who we are.” - Stacey Park Milbern
Stacey Park Milbern was a self-identifying queer disabled woman of colour and a trailblazer. A long-standing and respected organizer and leader in the disability rights and justice movement, she also advocated for the rights of many different communities, not just her own. Stacey’s activism had mighty roots in her experience at the intersections of gender, disability, sexuality and race.
Stacey, along with some friends, co-created the Disability Justice Culture Club, a group working to support various and especially vulnerable communities, including helping homeless people gain access to resources during the COVID-19 pandemic.
She was also a co-producer of an impact campaign for Netflix’s documentary “Crip Camp”, a board member of the WITH Foundation, and led organizations at local, state and national levels. Stacey wrote beautifully and powerfully:
“My ancestors are people torn apart from loves by war and displacement. It’s because of them I know the power of building home with whatever you have, wherever you are, whoever you are with. My ancestors are queers who lived in the American South. It’s because of them I understand the importance of relationships, place and living life big, even if it is dangerous. All of my ancestors know longing. Longing is often our connecting place...” - Stacey Park Milbern
She was born in Seoul, Korea and grew up in North Carolina, later continuing her journey in the San Francisco Bay Area. Stacey passed away of complications from surgery on her 33rd birthday on 19 May 2020.
“She was, a lot of people would say, a leader. She kind of encompassed all of it. You know, sometimes there's like a lead from the front, lead from the middle, lead from the back. And she was just somehow able to do all of that.” - Andraéa LaVant, disability rights activist
“What a blow to lose Stacey when our communities need her leadership more than ever, and at a time when her strength, insight, and grit were receiving increased recognition outside of disability circles, giving her a greater platform to advance her life’s work...We will not have the gift of learning where her charismatic leadership would have taken us. But let there be no doubt: What Stacey gave us, in a relatively short time, will continue benefiting others for years to come.” - Disability Rights Education and Defense Fund (DREDF)
Impression sur papier, sérigraphie 4 couleurs, 8.5x11, 2016
«Tasseography» (Tasséomancie)
La tasséomancie est une méthode de divination qui interprète les motifs dans les feuilles de thé et/ou le marc de café. Il s’agit d’une pratique qui se transmet par les femmes de mon côté arménien et qui m’a été enseignée par ma mère, qui elle-même l’a apprise de sa mère, et ainsi de suite. Lorsque je regardais ma grand-mère lire le marc de café du café arménien préparé pour la famille et les amis, je remarquais que, souvent, elle voyait ce qu'elle avait envie de dire. Ces gravures disent certaines des choses que j’ai envie de voir dans le monde ; j'espère que vous aussi.
Impression relief sur papier, 11 × 14 in, 2021
«Our Promise» (Notre promesse)
Cette gravure célèbre la résilience, le sacrifice et la force des combattant·e·s de la liberté de l’Asie du Sud-Ouest et de l’Afrique du Nord à travers l'histoire et la solidarité qui existe. Elle a été inspirée à l'origine par un article que j'ai lu sur une exposition organisée à Tatvan, un district de Bitlis, qui mettait en lumière la présence arménienne dans la région. Mes ancêtres sont originaires de Bitlis, se situant aujourd'hui sur le territoire de la Turquie actuelle.
Impression relief sur papier, 8.5 × 11 in, 2020
«Looking at the Cup» (Regarder la tasse)
La tasséomancie (la lecture du marc de café) est une pratique culturelle utilisée par les femmes arméniennes depuis des siècles pour se parler entre elles et les unes aux autres, un langage codé permettant d'entamer des conversations, d'établir des relations et de tisser des liens.
À propos d’Ali Chavez Leeds
Ali Cat Leeds (elle/iel) est une artiste et graveuse qui vit sur les territoires non cédés de Cowlitz, Multnomah et des tribus confédérées de Grand Ronde, au confluent de deux rivières, également connu sous le nom de Portland, Oregon. Elle produit ses œuvres sous le nom de Entangled Roots Press. Ses impressions mêlent le littéral et le métaphorique pour éclairer et commenter le monde qui nous entoure. Les impressions en relief, sérigraphiques et typographiques vont du carnage de la déforestation à la beauté des mouvements des peuples. Les impressions d'Ali s'inspirent d'histoires ancestrales et s'orientent vers des avenirs libérateurs ; elles enchevêtrent les leçons des jardins, les symboles dans le marc de café, les fils tissés d'Arménie et d'Euskal Herria, jusqu'à la page imprimée.
CFA 2023 - Hubs - FR
Nouveaux
Pôles : Voyage spatial transfrontalier
Les participant.e.s se rassembleront physiquement sur un certain nombre de sites en dehors du site de Bangkok, dans différentes parties du monde, chaque jour du Forum. Tous ces sites auto-organisés seront virtuellement connectés au site du Forum à Bangkok pour des sessions conjointes et hybrides. Tout comme pour les personnes se connectant en ligne, les participant.e.s au Hub pourront animer des sessions, participer à des conversations et profiter d'un programme riche et diversifié.
Un juego práctico con el que los colectivos pueden analizar las alternativas económicas feministas y los sistemas de cuidados como respuesta a las crisis. Destinado a todos los movimientos que trabajan en torno a la crisis climática mundial mediante una estrategia basada en escenarios de la vida real. Una vía creativa para elaborar estrategias en reuniones, talleres y encuentros comunitarios.
Chinelo Onwualu es una consultora editorial que posee casi 10 años de experiencia en la elaboración de comunicaciones estratégicas para entidades sin fines de lucro de todo el mundo. Algunos de sus clientes han sido ActionAid Nigeria, The BBC World Trust, Open Society Initiative for West Africa (OSIWA) y AWID. Posee una maestría en Periodismo de la Universidad de Siracusa, y ha trabajado como escritora, editora e investigadora en Nigeria, Canadá y Estados Unidos. Es además la editora de no ficción de la revista Anathema y cofundadora de Omenana, una revista de ficción especulativa africana. Sus cuentos se han publicado en diversas antologías galardonadas y ha sido nominada para los Premios Británicos de Ciencia Ficción, el Premio Nommo a la Ficción Africana Especulativa y el Premio Africano del Día de la Narrativa Breve. Es de Nigeria y reside en Toronto con su pareja e hijx.
A Film Series on Feminist Realities from the SWANA region
by Esra Ozban
In a product-obsessed world, prioritizing process is a fundamental feminist method. Processes matter, and curation is no exception. While figuring out which of the films from the SWANA region would speak the loudest to the Feminist Realities theme, the global pandemic we are still facing shifted our everyday lives tremendously. Even to think, write, or express myself has become an everyday struggle. I kept missing all of my deadlines and sending apology emails to Kamee Abrahamian, whom I was working with as an independent curator for AWID’s Feminist Film Club. Kamee’s invaluable support, understanding, and suggestions reminded me that even in two different parts of the world, as colleagues who never met in person, we can co-create micro versions of the Feminist Realities for which we live and yearn.
Feminist Realities for me have a lot to do with sisterhoods. Sisterhoods that help womxn clearing mines in Artsakh/Nagorno-Karabakh. Sisterhoods baked in Vegan Inclusive Trans Cake by young trans feminists in Ankara that remind cis-ters that they are not welcomed by the Z generation. Sisterhoods that are growing into the mint on Dragica Alafandi’s rooftop in the Dheisheh Refugee Camp in Occupied Palestine in Sowing seeds of resistance. Sisterhoods that embrace intimate, sexual, and revolutionary proximities in Gezi Park in #resistayol. Sisterhoods that unearth an imagined encounter between two generations of womxn in exile in the streets of Haifa in Your father was born 100 years old and so was the Nakba. Cross-species sisterhoods that build in a fictional (brave) space created by Mounia Akl in Submarine for her rebel character Hala, who refuses to evacuate from a city full of garbage and is left behind with a dog friend.
This selection gathers bits and pieces of many Feminist Realities that have been realized in the SWANA region over the last couple of years. We will continue to imagine, learn, and share feminist embodiments of hope and power. In the meantime, let’s immerse ourselves in the powerful alternatives brought to life by the filmmakers and protagonists of these films. We may co-create every step, every act, and every attempt as we continue to cohabitate this world with others who are living Feminist Realities and continue to dream more of them into existence.
MOTHERLAND
By Emily Mkrtichian& Jesse Soursourian
“With beautiful visuals paired with compelling verité scenes, Motherland is a show of female camaraderie and strength… The film is a testament of women around the world who are willing to work harder to overcome any obstacle they meet.”
- Nosarieme Garrick, award winning filmmaker
“Motherland is an inspiring visualization of solidarity, courage, and grit…”
- Hers is Ours Collective, organizers of the Outsider Moving Art & Film Festival
Emily Mkrtichian on Feminist Realities and Artsakh/NKR: We shot the short film, Motherland, in the Republic of Artsakh in 2018. I was drawn to each of these women for their strength, their resilience and their humor -- despite the context in which they lived. In 2018, that context was the aftermath of a brutal war in the 1990’s, after which their country remained an unrecognized (or, in the international community, disputed) territory that was not given the autonomy and independence so many other countries enjoy. Artsakh was also deeply affected by the consequences we see in almost all places that go through violent conflict -- consequences that so often fall on women to bear: PTSD, high rates of alcoholism, high rates of domestic abuse, less equality and freedoms granted to women, little to no representation of women in politics and civil service. In the face of all these challenges, this film tries to capture the fire and power of the women of Artsakh, one that might not fit the traditional Western feminist paradigm, but one they have created for themselves through deep community ties, care for their families, hard work, and the ability to laugh with eachother through it all. Today, the Republic of Artsakh has been newly devastated by another war that left it without 70% of the lands these women grew up understanding were theirs. Yet, I can promise you that these women, and thousands of others, continue to pull their families, communities, and culture together through the same networks of care, commitment to hard work, and deep riotous laughter in the face of an uncertain future.
SOWING SEEDS OF RESISTANCE
By Baladi-Rooted Resistance
“A timely film to watch after having born witness to the latest bombardment of Gaza by Israeli Defence Forces. A glimpse into the way that women in Palestinian communities survive structural oppression, through the story of a library of traditional seeds.. and the women that sustain them as a form of nourishing rebellion.”
- Jessica Horn, PanAfrican feminst strategist, writer and co-creator of the temple of her skin
“Watching women coming together and working collectively for food autonomy is both therapeutic and empowering for me.”
- Hers is Ours Collective, organizers of the Outsider Moving Art & Film Festival
Baladi-Rooted Resistance Team on Feminist Realities: How to talk about Feminist Realities when you live in Deheisheh, a Palestinian refugee camp, built 70 years ago to serve 3000 refugees, but now home to 15000 people, in the occupied West Bank? Or when the land you farm is under constant threat by illegal settlers.
If you’re a woman in occupied Palestine you will have to struggle not only against patriarchy but also against colonialism and a brutal military occupation.
Dragiča and Vivien are fighting these multiple systems of domination in their own way.
Vivien uses native seeds to help Palestinians maintain their identity. Growing traditional food in traditional ways has great significance: “If you’re not a producer anymore, you’re a consumer, and what better way to enslave someone than turning them into your consumer. This is happening all around the world, but here you have it doubled with the military occupation.”
31.5% of households in the West Bank are food insecure. Through a rooftop edible garden, Dragiča managed to increase her family’s food autonomy. In the crowded camp, where the Israeli army conducts regular nighttime incursions to arrest and harass residents, Dragiča’s rooftop garden not only nourishes her family, but it especially nourishes her soul.
#RESISTAYOL
By Ruzgar Buski
Ruzgar Buski on Feminist Realities: I don’t know what to say about Feminist Realities but as a trans artist, an activist from Turkey, I know our realities are harsh. We live with violences- physical, emotional, economical, sexual! That is why we have to build our own networks, and co-creating micro realities for each other is a Feminist Reality for me. #resistayol is my first film, and at the beginning I was planning to make a film by/for/with trans people that does not try to convince anyone to the fact that trans people are human or focuses on raising awareness on trans issues. However, Gezi Uprising, one of the biggest uprising in the history of Turkey, happened and the film became something different.
I believe the production process really affects what the film is. We tried very hard for women, trans and non-binary people to work on every step of the film. This film is made by people who gathered with camaraderie and friendship. Kanka Productions is founded on transfeminist comradeship. I want the film to give hope, to heal because we carry a lot of traumas in our bodies- this is what makes us and what bonds us. Healing is a never-ending process and we have to create spaces to breath. #resistayol is an hour of breathing collectively.
Boysan Yakar in #resistayol: Well lubunyas (queers) were sitting in the park, all of a sudden bulldozers arrived and everyone got pissed off. Actually in summary this is it. It's Lubunya's park,and we had thirty days to explain that to this huge city. Everyone acknowledged that at night ibnes (faggots) fuck in that park...LGBTI Block carried our commune there. We already didn't trust the state and police and didn't have any security, we've established our own ways of doing things, our own laws and customs to survive... We carried our law to Gezi rapidly...With an effort to establish some common language and understanding among all these groups, the LGBT language of togetherness spread all through the park. Every day was a Pride march, everyone was continuously saying ‘ayol’. We spruced up the stinky, fusty language of the left. I guess we had such an impact because we've been disowned for all these years. From the most radical ones to the most conservative and nationalist ones, they all needed us, because everyone got used to being confronted with everything. Τhey were not used to such energy, our energy. That’s why it was a great political space for us. Every day, we actualized our biggest and main struggle there, that is, a struggle for visibility and recognition. That’s why we left Gezi with a huge gain.
VEGAN INCLUSIVE TRANS CAKE
By Pembe Hayat
“...a multifaceted statement, showing the joy that exists in the friendships within the queer community in Turkey as a display of rebellion and resistance.”
- Nosarieme Garrick, award winning filmmaker
“...fun, light, and random. In a world constantly marked and scarred by violence against the trans community, nothing, no action, is (unfortunately) deprived of meaning. So to more joy, love, and meaningful randomness!”
Cayan Azadi in Vegan Inclusive Trans Cake: Hello Barbies, Kens, porcelain dolls, Olive Oyls, cabbage dolls. Brides of Chucky, sisters of Chucky, brother-in-laws of Chucky and last but not least, esteemed brother-in-law lovers.
So why did we make this cake.
Now we got the news that a trans woman sex worker has attempted suicide due to the violence from street-guards and police on the street. She’s being kept at a police station now and that’s exactly why we made this cake. This transvestite cake is baked to show that we exist in every part of life, that we exist persistently and this cake shows that won’t be wiped off or ignored in this society.
Yes, there is violence in our lives, yes there is a lot of shade as well but despite all of that, we can still have fun, enjoying life as much as we can. Bon appetit, sis!
YOUR FATHER WAS BORN 100 YEARS OLD AND SO WAS THE NAKBA ابوكي خلق عمره ١٠٠ سنة، زي النكبة
By Razan AlSalah
SUBMARINE
By Mounia Akl
“It is directed as a poem is written… simple, a touch abstract, and moving.”
Esra Ozban: Esra Ozban is a film programmer and filmmaker from Turkey. Their artistic, curatorial, and scholarly work intersects critical archival practices, sex work, pornography, feminist/queer film cultures among others.
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Twitter ENG: @awid
Twitter FR: @awid_fr
Twitter ES: @awid_es
LinkedIn: Association for Women's Rights in Development (AWID)
CFA 2023 - Suggested Activities Format - FR
Formats d'activités suggérés
Panel : Dans le cadre d'une table ronde, explorez une question ou un défi sous différents angles, ou partagez un apprentissage ou une expérience, puis posez des questions à l'auditoire, si le temps le permet.
Talk-show : Organisez une conversation plus spontanée dans le cadre d'un talk-show. Les talk-shows peuvent être une conversation entre plusieurs personnes, animée par un.e présentatrice.eur de talk-show. Les questions du public peuvent déterminer l'orientation de la conversation.
Discussion : Elles peuvent prendre la forme de cafés du monde, de cercles restreints ou fishbowl et d'autres méthodologies qui facilitent l'implication active des participant.e.s dans les conversations. Il s’agit d’un format très participatif.
Atelier : Sessions interactives qui invitent les participant.e.s à acquérir de nouvelles compétences dans tous les domaines de la vie et de l'activisme.
Session stratégique : Il s'agit d'une invitation à réfléchir à une question ou à une stratégie, en profondeur, avec d'autres personnes. Un espace pour apprendre les un.e.s des autres : ce qui fonctionne, ce qui ne fonctionne pas, et comment développer de nouvelles stratégies collectives pour créer les mondes dont nous rêvons.
Cercle de partages (également connu sous le nom de Birds of a Feather) : Idéal pour les petits groupes, dans un cadre plus intime, afin d'écouter les un.e.s et les autres, de susciter la discussion et d'aborder avec soin des sujets qui peuvent être spécifiques, sensibles et complexes.
Arts - Atelier participatif : Activités participatives impliquant les arts et l'expression créative. Qu'il s'agisse d'art visuel, de théâtre, de film, de peinture murale, de danse, de musique, d'artisanat collectif ou de création artistique, etc., nous accueillons toutes les idées célébrant l'art et la créativité féministes en tant que formes de changement social, de guérison, d'expression et de transformation.
Arts - Performances, installations et expositions : Nous accueillons les propositions qui offrent aux participant.e.s du Forum de nouvelles expériences et perspectives, qui élargissent nos horizons et qui nous incitent à penser, ressentir et organiser d'une nouvelle manière.
Guérison : Diverses activités adaptées à la fois aux groupes et aux individus, allant de l'apprentissage de techniques de relaxation à la discussion sur la prévention de l'épuisement professionnel, des pratiques de soins du corps, de l'esprit et de l'âme tenant compte des traumatismes à la guérison et des failles au sein de nos mouvements.
WITM - Refreshed Intro Text (FR)
Où est l’argent ? Un plaidoyer documenté pour soutenir les organisations féministe
Ce rapport révèle la réalité du financement des organisations féministes et de défense des droits des femmes dans un contexte de bouleversements politiques et financiers. S’appuyant sur plus de dix ans d’analyse depuis la dernière étude Où est l’argent ? de l’AWID (Arroser les feuilles, affamer les racines), il dresse un bilan des progrès réalisés, des lacunes persistantes et des menaces croissantes dans le domaine du financement féministe.
Le rapport salue le pouvoir des initiatives menées par les mouvements pour façonner le financement selon leurs propres conditions, tout en alertant sur les coupes massives dans l’aide au développement, le recul de la philanthropie et l’escalade des offensives anti-droits.
Il appelle les bailleurs de fonds à investir massivement dans l’organisation féministe, infrastructure essentielle pour la justice et la libération, et invite les mouvements à réimaginer des modèles de financement audacieux et autodéterminés, fondés sur le soin, la solidarité et le pouvoir collectif.
Le rapport sera bientôt disponible
#10 - Sexting like a feminist Tweets Snippet FR
Dis-le-moi en vers…
Les fleurs sont en bouton
Le printemps est ici
La révolution gronde
Et toi tu gémis
![]Ali Chavez Leeds portrait](/sites/default/files/styles/max_325x325/public/2021-10/portrait.jpeg?itok=0yU3PqLe)
