Otras Union meetings and demonstrations

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

Responsibility, Accountability, and Integrity

We strive for transparency, responsible use of our resources, fairness in our collaborations and accountability and integrity with our members, partners, funders and the movements with(in) which we work. We are committed to reflecting on our experiences, sharing our learnings openly, and striving to change our practices accordingly.

هنالك 47 سؤال في الاستطلاع، منها 27 سؤال اجباري* والعشرين الباقين هي أسئلة اختيارية. أغلب الأسئلة هي أسئلة متعددة الخيارات. ندعوكم/ن للإجابة على جميع الأسئلة.

Primera sesión para redactar el Documento Final de la tercera Conferencia Internacional sobre la Financiación para el Desarrollo

• En enero de 2015, en la sede de la ONU en Nueva York comenzó una serie de sesiones para redactar el Documento Final.
• Antes de la primera sesión, los facilitadores del proceso preparatorio de la Conferencia de Adís Abeba presentaron los “Elementos” para el llamado “Borrador Cero” del documento, que constituyeron la base para las negociaciones entre gobiernos en torno al Documento Final.
• En esas sesiones, las organizaciones por los derechos de las mujeres subrayaron la necesidad de que, en los procesos post-2015, la FpD y los medios para su implementación se traten por separado, ya que la FpD brinda a los Estados una oportunidad única de ocuparse de las causas estructurales de la desigualdad.

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.
 

El 14°Foro Internacional de AWID ha sido cancelado

Dada la situación global, nuestra Junta Directiva tomó la difícil decisión de cancelar el Foro que estaba programado en 2021, enTaipei.

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Данные будут обработаны в статистических целях, чтобы осветить состояние ресурсного обеспечения феминистских движений во всем мире, и представлены будут только в обобщенном виде. AWID не будет публиковать информацию о конкретных организациях или отображать информацию, которая позволила бы идентифицировать организации по их местоположению или характеристикам, без их согласия.

Forum des femmes sur le financement de l’égalité des genres

• Le Forum a eu lieu le 10 juillet 2015, à Addis-Abeba. Il a rassemblait des féministes, des femmes venant de la base, des défenseuses de l’égalité des genres, des universitaires et des représentant-e-s des organisations/réseaux de défense des droits des femmes. Un certain nombre de représentant-e-s de l’ONU et d’autres responsables politiques ont été invité-e-s à apporter leur contribution.
• Les objectifs du Forum des femmes sont les suivants : échanger des informations sur l’état d’avancement des dernières négociations relatives au FdD, analyser conjointement le panorama et le suivi du FdD, adopter une position commune concernant la défense des droits des femmes et, enfin, élaborer des stratégies visant à permettre aux organisations de femmes de contribuer de manière significative et considérable à la Conférence d’Addis Abeba sur le FdD, et ce dans une perspective féministe.
• Le Forum des femmes est organisé par le WWG on FfD, en collaboration avec FEMNET, le Fonds de développement pour la femme africaine (AWDF) et la Post-2015 Women's Coalition. Il bénéficie également du soutien de l’ONU Femmes.

Forum des OSC sur le FdD

• Le Forum des OSC sur le FdD a eu lieu à Addis-Abeba les 11 et 12 juillet 2015. Ses objectifs sont les suivants : informer les OSC participantes de l’état d’avancement des processus officiels et coordonner la participation de la société civile pendant la troisième Conférence sur le FdD ; élaborer une Déclaration collective des OSC et les messages des OSC à destination des participant-e-s aux tables rondes de la Conférence sur le FdD, mettre en place des manifestations parallèles organisées par le groupe des OSC sur le FdD et tout autre événement qui pourrait se présenter ;  enfin, planifier et organiser les futurs domaines d’engagement des OSC dans le secteur du financement du développement, au-delà de la troisième Conférence sur le FdD.
• Pour plus d’informations, vous pouvez consulter le site internet du Groupe des OSC sur le FdD (en anglais) ou prendre contact avec le Groupe de coordination des OSC pour Addis-Abeba (addiscoordinatinggroup@gmail.com).

La troisième Conférence internationale des Nations Unies sur le financement du développement

• La troisième Conférence internationale des Nations Unies sur le financement du développement a eu lieu à Addis-Abeba, en Éthiopie, du 13 au 16 juillet 2015. Ses objectifs principaux étaient les suivants : évaluer les progrès accomplis dans la mise en œuvre du Consensus de Monterrey (2002) et de la Déclaration de Doha (2008) ; traiter des problèmes nouveaux et de ceux qu’il faudra anticiper, y compris dans le contexte de récentes initiatives multilatérales visant à encourager la coopération internationale pour le développement et en tenant compte des éléments suivants : l’évolution actuelle du cadre de la coopération pour le développement, les interrelations entre les différentes sources de financement du développement, les synergies existantes entre les différents objectifs de financement propres aux trois dimensions du développement durable (économique, sociale et environnementale) et la nécessité de soutenir le programme de développement des Nations Unies au-delà de 2015, et, enfin, la redynamisation et le renforcement du processus de suivi relatif au financement du développement.
• Le Programme d’action d’Addis-Abeba a été adopté le 15 juillet 2015 par les chefs d’États et de gouvernements ainsi que les hauts-représentants de l’ONU.
• Cependant, les pays en développement, les OSC et plus particulièrement les organisations de femmes, estiment que le Programme d’action d’Addis-Abeba n’a pas atteint son objectif. Le Groupe de Femmes sur le Financement du Développement a exprimé une vive déception et exigé des changements structurels sur le plan de la gouvernance économique mondiale et sur celui de l’architecture du développement. Consultez leur réaction au document final. Des centaines d’organisations et de réseaux de la société civile du monde entier ont aussi manifesté de vives préoccupations et de sérieuses réserves. Lisez leurs réactions au document final.

The Circle’s Conspiracy of Writers | Wazina Zondon

	Also known as the Teta Research Network, The Conspiracy of Writers was founded in 2021 in the context of Kohl’s weekly writing circles. The Network is a transnational group of queer and feminist writers who engage in collective writing, thinking, and world-making.	Wazina Zondon is an Afghan raised in New York City. Her storycollecting and storytelling work centers collective memories and rites of passage in the diaspora. Currently, she is working on Faith: in Love/faith in love which (re)traces her parent’s love story and family’s inherited love print.

Love is a contraband in Hell,
cause love is acid
that eats away bars. 

But you, me, and tomorrow
hold hands and make vows
that struggle will multiply.

The hacksaw has two blades.
The shotgun has two barrels.
We are pregnant with freedom.
We are a conspiracy.

It is our duty to fight for freedom.
It is our duty to win.
We must love each other and support each other.
We have nothing to lose but our chains.

- “Love” by Assata Shakur

“If we can inherit trauma, can we inherit an imprint related to love?”

That is the question Wazina Zondon asks in her collective memoir Loveprint. Loveprint is a wandering, an overlap, a deviation that (re)creates, at the intersection of interviews and personal essays, our family’s stories and insights on love, partnership and romance. Under Wazina’s guidance, the circle’s conspiracy of writers came together and attempted to reproduce this literal blueprint in the form of collective writing, where our different stories, our genders and sexual identities complement and contradict each other. With our voices overlapping, we complete each other’s sentences to create a conversation, a memorial, pieces of ourselves that speak to a “we.”

What are the origins of your love print?

I am a so-called “happy accident.” There is much narration about this – an accidental life, one that is entirely wanted at the same time. I feel this shaped my way of loving, I don’t just fall in love; I risk the slips that lead to the fall. Perhaps it made me an amor fati kind of person. 

I was told that I was an unwanted child. So I grew up to become an unwanted adult. The origins of my love print are based on being eternally unwelcomed. I am not a fruit of love or any happy feelings but rather one pain and burden. I don’t have a love print – at least not in this sense.

I know for a fact that both my parents were in love at some point, but mental health is such a demon, and until one confronts their demons, there is no winning.

I will never associate “love” with my parents or normative family. Love growing up was full of violence and responsibilities I didn’t sign up for or was even ready for. For the longest time, it felt like life and love were about carrying a big rock uphill. While my parents “loved each other,” it was a toxic ethos of violence, jealousy, and insecurity to grow up in. I grew up wanting to crave stability, and this is what is me now. I am a risk taker, but never in my “love space.”

I don’t know why my mother chose to host a child (me) within her.
She does not love in this form.

My mother tells me that if I have to think about “finding” love, I should never look at her marriage as a template. My love print comes instead from my raising dogs for the last two decades (18 years to be precise). The other way around is true as well – they raised me. I understand more and more about love and its many layers in their company.

I haven’t known love from a “print.” In our household we don’t talk about love. I had to teach myself how to love. It was hard work. Still, I fail and still, I keep on trying and I fail everyday. Perhaps failure is my love print.

My love print is the care, warmth, and understanding I give to others
surrounding me, whether a stranger, a friend, a relative, a lover. 
My love print is political – uncalculated and unthought of.

I was born under heavy shelling. 
My love print is the negative 
print of that.

Lessons learned about love

I know more about what love is not than I know about what love is. 

Love is neither anxiety nor panic.

Love is not asking permission to live or breathe. It is always about love and there is no love without freedom.

Everything you do is about using your heart except love. Love is about using your mind. 

Sometimes I fear that my love language is lost in translation.

--- There are many ways
to map the origins
of how to
how not to
love
not love
love just enough
love far too much
some love
some loss
to love
to love lost ---

I cannot stand the idea of the couple. I cannot stand the idea of living alone while aging either. I am tired of doing the chores alone, moving houses alone, paying rent and bills alone... I imagine getting a stroke alone, and it scares me. I have no plan of “partnering up.” I want a world where I can get married to a friend, buy a house with a friend, not have sex.

Loving many does not corrupt a love shared between two, and whether love is romantic or not is really not that important.

When I reflect on the shoddy state of my relationships, I realize that I am in the relationship I was trained to be in. With all my “radicalness” I have not yet unlearned shitty gendered norms.

My need for stability feels “not radical” enough. I want to get out of this labeling. I want something I never had. I want to make it beautiful. I want to feel beautiful and safe – and only stability makes me feel that. Safe, sound, knowing home is neither about violence nor strife.

--- Love print – love to smell the books to see 
where they were printed
I try to think of the origin of my 
understanding and practice of love
Do we need origin, it is not the same as purity? 
No purity or origin of love. 
Why is it understanding and practice, 
and not “emotion” that comes to mind? ---

When I call my parents, I don’t hang up the phone after we’ve said
goodbye, so I can hear the sounds of home.

What do we need to be/feel loved in death?

During my Sunni burial, I want all the women and men to come together for my burial. What’s with not being able to go say goodbye to dead people from a different sex? It will be Sunni because my mother would want it to be. It will be eco-friendly; no need for the headstone. I love all burial rituals. Quran is good, but I also want music. I really like Asmahan, Um Kulthum, and The Stone Roses.

I have a Monday-Friday playlist and two different ones for the weekend: one for Saturday and one for Sunday playlist. I would like those who loved me to play the music that I used to listen to, respecting the days – with some margin of tolerance as long as they stick to the playlists.

I want to be surrounded by the one(s) who have loved me, even for a moment. And in music and embowered in fresh cut flowers. I don’t want to be discovered dead; I want to pass away mid-laugh with loved ones.

I want to be remembered as someone who loved.

I don’t need to feel loved in death. I need the people around me to feel I loved them, even after I die. Being loved in death is about those who are alive. So I think more about how we come together as a living and loving community in the death of those we love and live with. How we take their memories with us. How we become archives of their lives.

 --- Sometimes, you can only love people in their death. ---

I have to think back to the body being connected to a space. My family is very tiny and although we come from different places, it is as if every generation moved somewhere new. Perhaps this is the reason why death is not connected to a special place, a cemetery. It is common in our family to bury the dead without names or gravestones, or to distribute the ashes in the wind. I feel at peace with this kind of spaceless remembrance. The idea that my ashes fertilize new life gives me the sense of being loved, being remembered through recreation. My grandmother died earlier this year due to complications after the vaccination. Two hours after she died, my family sat laughing tears about her jokes, her hilarious way to tell stories. We laughed and loved, and it was as though she sat with us again. This is what would make me feel at peace – fertilizing soil, fertilizing conversations, and collective remembrance.

--- There were
Two streets that I used 
To walk
To run
To play
To stay

There were 
Five hours when the sun
Was hot
The sky was blue
The earth was green

There was 
A flower I could
Smell
Touch
Squeeze
Crush

There were
The friends I could
Caress
The food
I could 
inhale
The language
That would roll off my
lips

There might still be

Those many places

And things

And people

After me  ---

Perhaps a promise that I will be “spatially commemorated” as a plant and taken care of in turns until it becomes a tree is enough. No name, no plaques – just the plant/tree, and knowing that it will be cared for. As for my body, I want to be cremated without any rituals and my bone ashes set free in the Arabian sea.

I need my body to be treated as subversively as it’s lived.

I do not want to be buried next to my family. In this tiny drawer next to all of the people who never knew me. Trapped in death as I was in life. I want to be cremated, and my ashes finally set free. 

I want to be allowed to pass, not hang in the in-between, so it is a presence, an active process, a trespassing.

I will ask of you: 

• To release me and let me pass
• To not let nostalgia muddy this moment because I will ask only for the normalcy of your expressions
• I have snuck the gentle glimpses and hoarded away the already small and large ways you loved me in order to be sustained. I kept myself alive on these
• To set a finite amount of time to grieve
• To be be reminded there is no separation in the beauty of loving; it is infinite and it regenerates without the body

I want to be remembered for the love I put into the world.
I want my body to be given away, and my organs
to further fuel love in (an)other live(s).

--- The smell of jasmine ---

Une méthodologie de recherche autogérée

© UN Women/Ashutosh Negi (CC BY-NC-ND 2.0) [https://creativecommons.org/licenses/by-nc-nd/2.0/]

L’AWID propose la Boîte à outils  « Où est l’argent pour les droits des femmes? » (« Where Is The Money for Women's Rights? », WITM) pour soutenir les individus et les organisations qui souhaitent mener leur propre recherche sur les tendances de financement en adaptant la méthodologie de recherche de l’AWID à une région, une question ou une population spécifique.

La Boîte à outils WITM de l’AWID est le produit de dix ans de recherches. La rméthologie WITM de l’AWID proposent une démonstration politique et pratique des ressources et des étapes qu’exige une solide recherche-action.

L’équipe 'Ressources des mouvements féministes' offre également un soutien technique et politique, avant et pendant le processus de recherche. Parcourez la boîte à outils et contactez fundher@awid.org si vous souhaitez plus de renseignements.

Não. Tem por base a história de 20 anos da AWID de mobilizar mais financiamento de maior qualidade para mudanças sociais lideradas por feministas e é a terceira edição do nosso inquérito “Onde está o dinheiro para organização feminista?”. O nosso objetivo é repetir o inquérito WITM a cada 3 anos.