
Karen Brandow

El Tributo de AWID es una exhibición de arte que honra a feministas, a activistas por los derechos de las mujeres y de la justicia social de todo el mundo que ya no están con nosotrxs.
El Tributo de este año cuenta y comparte las historias y narraciones de quienes crearon conjuntamente realidades feministas, ofrecieron visiones de alternativas a los sistemas y actores que nos oprimen, y propusieron nuevas formas de organizarnos, de movilizarnos, de luchar, de trabajar, de vivir y de aprender.
Se agregan a la galería 49 retratos nuevos de feministas y defensorxs de derechos humanos. Aunque muchxs feministas y defensorxs han fallecido debido a edad avanzada o enfermedad, muchísimxs han sido asesinadxs debido a su trabajo y por ser quienes eran.
Esta violencia creciente (de parte de Estados, empresas transnacionales, crimen organizado, sicarios no identificados, etc.) no se dirige solo a activistas individuales sino a nuestro trabajo común y a las realidades feministas.
Visita nuestra exhibición en línea
Lors retratos de 2020 fueron diseñados por la ilustradora y animadora galardonada, Louisa Bertman.
En AWID nos gustaría agradecer a las familias y organizaciones que nos compartieron sus historias personales, y así haber contribuido a este memorial. Nos unimos a ellxs para continuar el extraordinario trabajo de estxs activistas y defensorxs, y en el esfuerzo para asegurarnos de que se logre justicia en los casos que permanecen en la impunidad
"Ellos trataron de enterrarnos pero no sabían que éramos semillas."‐ Proverbio Mexicano
Primero tomó forma como una exposición física de retratos y biografías de feministas y activistas que habían fallecido, en el 12º Foro Internacional de AWID, en Turquía. Ahora vive como una galería en línea, que actualizamos cada año.
Desde 2012 hemos presentado más de 467 feministas y defensorxs.
The 1st drafting session on the outcome document for the 3rd Financing for Development Conference
While active participants on the front lines of protests and uprisings in the Middle East and North Africa (MENA), women became invisible, absent from processes of formation of the new states, and excluded from decision-making roles, responsibilities, and positions in the aftermath of the uprisings. Except in rare cases, men dominated leadership positions in transitional structures, including the constitutional reform and electoral committees[i]. Subsequent elections brought very few women to parliamentary and ministerial positions.
Additionally, a strong and immediate backlash against women and women’s rights has clearly emerged in the aftermath. The rise of new religious fundamentalist groups with renewed patriarchal agendas aiming to obliterate previous gains of the women’s movements even in countries with longer histories of women’s rights, such as Tunisia, has been very alarming.
The varying contexts of governance and transition processes across the MENA countries presents an important opportunity for women human rights defenders to shape the future of these democracies. However, the lack of prioritization of women’s rights issues in the emerging transitions and the aforementioned backlash have posed a variety of complex challenges for the women’s movements. Faced with these enormous challenges and possibilities, women’s rights activists have been struggling to forge ahead a democratic future inclusive and only possible with women’s rights and equality. The particular historical and contextual legacies that impact women’s movements in each country continue to bear on the current capacities, strategies, and overall preparedness of the women’s movements to take on such a challenge. Burdened with daily human rights violations in one context, with lack of resources and tools in another, with organizational tensions in a third, in addition to the constant attacks on them as activists, women human rights defenders have voiced their desire to be more equipped with knowledge and tools to be effective and proactive in engaging with these fast-changing environments. Conceptual clarity and greater understanding of notions and practices of democratization, transitional justice tools and mechanisms, political governance and participation processes, international and local mechanisms, movement building strategies, constitutional reform possibilities, and secularization of public space and government are important steps to defining future strategic action.
It is clear that feminists and women’s rights activists cannot wait for women’s rights to be addressed after transitions – issues must be addressed as the new power configurations are forming. Experiences of earlier moments of transition, namely from colonial rule, have clearly demonstrated that women’s rights have to be inherently part of the transition movement towards a more just and equal society.
This publication represents a research mapping of key resources, publications and materials on transitions to democracy and women’s rights in different countries of the world that have undergone such processes, such as: Indonesia, Chile, South Africa, Nepal, Mexico, Argentina, Poland, Ukraine, as well as within the Middle East and North Africa (MENA). It provides bibliographic information and short summaries of resources which succinctly identify the contextual changes and challenges facing women in those particular transitional moments, as well as clearly delineates the ways in which women’s rights activists sought to confront those challenges and what lessons were learned.
A key criterion in the selection process was the primacy of a women’s rights/feminist perspective; the few exceptions to this rule offer a unique and, we hope, useful, perspective on the issues that women’s rights organizations and activists face in the region. The texts have been selected to provide a wide range of information, relevant to women human rights defenders working from the grassroots to the international level, across issues (including different case studies and examples), from different perspectives (international human rights bodies, academic institutions, NGO contributions, activists’ experiences, etc.), and at a wide range of levels of complexity, in order to respond to the needs of as many readers as possible.
Share your stories and hear from others. By connecting our experiences, narratives and proposals we help co-create and amplify Feminist Realities.
Um total de 47 perguntas, das quais 27 são obrigatórias* e 20 são opcionais. A maioria das perguntas no inquérito é de escolha múltipla. Encorajamo-lo a responder a todas as perguntas.
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.
« 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)
Foro de Mujeres sobre Financiación para la Igualdad de Género
Foro de las OSC en la Conferencia Internacional sobre la FpD
Tercera Conferencia Internacional de la ONU sobre la Financiación para el Desarrollo
@shalinikonanur sharing a comment by her colleague debbie @salco "we can talk about shattering the glass ceiling, but we have to talk about who are sweeping those broken glasses?" challenging the #G7 to truly see who's vulnerable domestically & globally #W7Canada @kramdas @AWID pic.twitter.com/1rs0SpLYHp
— Tenzin Dolker cyclone (@T_Dolker) 25 de abril de 2018
Sindicato OTRAS
Creemos que para que los movimientos feministas sean transformadores y sólidos debemos seguir trabajando en nuestras similitudes y diferencias. También debemos cuestionar el poder y los privilegios, tanto dentro como fuera de nuestros movimientos.
يمكنكم/ن حفظ اجوبتكم/ن والعودة للاستطلاع متى أردتم/ن ذلك. KOBO بحفظ مسودات إجاباتك في الزاوية العلوية اليسرى من صفحة الاستطلاع وإعادة تحميل سجلك عند العودة إلى الاستطلاع.
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.
Le 14e Forum a pour thème « Réalités féministes: notre pouvoir en action ».
Nous concevons les Réalités féministes comme différentes façons d’exister et d’être qui nous révèlent ce qui est possible, au mépris et malgré les systèmes de pouvoir dominants, et en résistance à ces derniers. Nous concevons ces réalités féministes comme des revendications et des incarnations d’espoir et de pouvoir, et comme des réalités multidimensionnelles, dynamiques et ancrées dans des contextes et des moments historiques spécifiques.
As you plan the activity you would like to do at the Forum, please also consider how you will fund your participation. Typical Costs include: accommodation, travel, visa, forum registration fees, etc.
It is important to note that this Forum will have many ‘open spaces’ and moments for movements to learn and exchange, but fewer formal sessions. (See “Ways to describe the Forum in your fundraising” below for language to use in your outreach.)
Reach out to your current donors first : Your best option is always a current funder that you have.
Make sure to do it in advance : We recommend contacting them by early 2020 at the latest. Many funders who support feminist organizations have some budget allocated for Forum travel. Others may be able to include it in renewal grants or through other travel funds.
If your group has funders, tell them that you want to attend the AWID Forum to learn, experience, exchange and network- even if your activity does not get selected for the final program. In order to be able to support your participation, your donors will need to know about it well in advance so tell them right away! (they are already deciding which funds they will distribute in 2020).
If you do not currently have donor support or are not able to secure grants for Forum travel, consider reaching out to new donors.
Deadlines and requirements vary by funder, and a grant review process can take many months. If you’re considering applying for new grants, do so as soon as possible.
Feminist movements have long gotten creative with funding our own activism. Here are some ideas that we have gathered to inspire alternative ways of fundraising:
For more inspiration, see AWID’s ongoing series on autonomous resourcing, including specific ideas for conference raising participation funds.
AWID strives to make the Forum a truly global gathering with participation from diverse movements, regions and generations. To this end, AWID mobilizes resources for a limited Access Fund (AF) to assist Forum participants with the costs of attending the Forum.
AWID’s Access Fund will provide support to a limited number of Forum participants and session/activity facilitators. You can indicate in your application if you would like to apply to the AWID Access Fund. This is not guaranteed, and we strongly encourage you to seek alternative funding for your participation and travel to the Forum.
Even if you apply for the AWID Access Fund, we encourage you to continue to explore other options to fund your participation in the Forum. Access Fund decisions will be confirmed by the end of June 2020. Please remember that these resources are very limited, and we will be unable to support all applicants.
As you reach out to funders or your own networks, here is some sample messaging that may be helpful. Feel free to adapt it in whatever way is useful for you!
The AWID Forum is a co-created feminist movement space that energizes participants in their own activism, and strengthens connections with others across multiple rights and justice movements. Participants get to draw from wells of hope, energy and radical imagination, as well as deepen shared analysis, learning, and build cross-movement solidarity to develop more integrated agendas and advance joint strategies.
Our organization is seeking funds to attend the Forum in order to connect with other activists and movements from around the world, strengthen our strategies, and share our work. We are inspired by past participants, who have described the power of this global feminist gathering:
“Over four days … voices weaved together into a global perspective on the state of gender equality. And when I say global, I mean simultaneous translation into seven languages kind of global ....”
“It was reminding us that we are not alone. The Forum provided a means of translating collectivity into our movements. Whether across ideologies, identities or borders, our strength is in our vision and our support of one another.”
It is important to note that this Forum will have many ‘open spaces’ and moments for movements to learn and exchange, but fewer formal sessions. While many attendees will not be presenting in formal sessions, there will be invaluable space to learn, strategize, and experience feminist movements’ collective power in action.
When calculating your costs and how much you need to raise, it is important to factor in costs that may come up. Here’s an example of key items to consider:
The AWID Forum will now take place 11-14 January 2021 in Taipei .
It is more than a four-day convening. It is one more stop on a movement strengthening journey around Feminist Realities that has already begun and will continue well beyond the Forum dates.
Нет, не является. Он основан на 20-летней истории AWID по мобилизации более объемного и качественного финансирования для социальных изменений под руководством феминисток(-ов) и является третьим этапом исследования «Где деньги для феминистских организаций?». Наша цель – проводить опрос «Где деньги?» каждые 3 года.